Narposia: May 2024

Friday, May 17, 2024

APAC takes home 22 Gold Pencils at The One Show 2024: Japan and Australia lead the way - Campaign Brief Asia

May 16 2024, 8:00 pm | BY Kim Shaw | No Comments

11 countries and regions in Asia Pacific have collected 22 Gold Pencils, 19 Silver, 38 Bronze, and 162 Merits in The One Show 2024. The top performing agencies in APAC were Dentsu Inc. Tokyo and VML Australia Melbourne, who led the region with five Gold Pencils each, and TBWA\Hakuhodo Inc. Tokyo won three Golds.

The announcement of Pencil and Merit winners was made in advance of tomorrow night’s conclusion of Creative Week 2024 at The One Show 2024 gala awards ceremony at Cipriani Wall Street in New York, where Best of Show, Best of Discipline, special awards, and “of the Year” honors will be unveiled.

The One Show 2024 Gold Pencil winners in APAC are as follows.

Japan
• Dentsu Inc. Tokyo “The Sacred Dirt” Asahi Television Broadcasting Corporation in Design, Posters – Series
• Dentsu Inc. Tokyo “My Japan Railway” for JR Group in Design, Promotional – Physical Items
• Dentsu Inc. Tokyo “My Japan Railway” for JR Group in Design, Craft – Art Direction
• Dentsu Inc. Tokyo “My Japan Railway” for JR Group in Print & Promotional, Craft – Art Direction
• Dentsu Inc. Tokyo “Reach for the Summit” for The Hokkoku Shimbun in Design, Craft – Art Direction
• SIX Inc. Tokyo with good design company Tokyo “A Train of Memories” for Sotetsu Holdings in Moving Image Craft & Production, Special Effects – Single
• Spoon. Tokyo with Dentsu Inc. Tokyo “Scuffing Song” for Otsuka Pharmaceutical Co., Ltd. in Moving Image Craft & Production, Animation – Single
• TBWA\Hakuhodo Inc. Tokyo with Quantum Inc. Tokyo, Robot Communications Inc. and KMCgroup Tokyo “Shellmet” for Koushi Chemical Industry Co., Ltd. in Design, Packaging – Sustainable
• TBWA\Hakuhodo Inc. Tokyo with Quantum Inc. Tokyo, Robot Communications Inc. and KMCgroup Tokyo “Shellmet” for Koushi Chemical Industry Co., Ltd. in Design,Innovation – New Ideas in Design
• TBWA\Hakuhodo Inc. Tokyo with Quantum Inc. Tokyo, Robot Communications Inc. and KMCgroup Tokyo “Shellmet” for Koushi Chemical Industry Co., Ltd. in IP & Product Design, Innovation – New Ideas in IP & Product Design

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Australia
• Revolver x Somesuch Sydney with The Monkeys Sydney, Revolver Sydney and Somesuch London “Play It Safe” for Sydney Opera House in Moving Image Craft & Production, Writing – Single
• The Monkeys Sydney with MassiveMusic Sydney, ARC EDIT Sydney and Revolver x Somesuch Sydney “Play It Safe” for Sydney Opera House in Branded Entertainment, Music Videos
• VML Australia Melbourne with Airbag Sydney/Melbourne “FitChix” for Honest Eggs Co. in Creative Effectiveness, Single Region or Market – Consumer / Brand
• VML Australia Melbourne with Airbag Sydney/Melbourne “FitChix” for Honest Eggs Co. in Creative Use of Data, Innovation – New Ideas in Creative Use of Data
• VML Australia Melbourne with Airbag Sydney/Melbourne “FitChix” for Honest Eggs Co. in Health & Wellness, Creative Use of Data
• VML Australia Melbourne with Airbag Sydney/Melbourne “FitChix” for Honest Eggs Co. in Health & Wellness, Promotional Items
• VML Australia Melbourne with Airbag Sydney/Melbourne “FitChix” for Honest Eggs Co. in Out of Home, Innovation – New Ideas in Out of Home

China
TBWA\Media Arts Lab Shanghai with The Mill + TRAFIK + RadicalMedia “Shot on iPhone Little Garlic Chinese New Year” for Apple in Branded Entertainment

Singapore
• VML Singapore with For the Right Reasons Amsterdam, Prism South Africa Sandton and Sixieme Son APAC Pte Ltd Singapore “Change the Angle” for Lux in Public Relations, Innovation – Use of Media in Public Relations

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South Korea
• Cheil Worldwide Seoul with Cheil UAE Dubai, TOV Inc. Seoul and Tribal Aotearoa Auckland “Try Galaxy Fold Experience” for Samsung Electronics in Interactive & Mobile Craft, UX / UI – User Experience / CX / DX

Taiwan-China
• Leo Burnett Taiwan Taipei with Fish Film Productions Taipei “Paper Organs” for Taiwan Organ Sharing Registry and Patient Autonomy Promotion Center in IP & Product Design, Products for Good

Thailand
• Lazada Bangkok for its own “An Unnecessary Love Story” in Brand-Side / In-House, Branded Content

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The count of The One Show 2024 Pencil and Merit wins for APAC, by country, is as follows.
Australia: 7 Gold, 5 Silver, 14 Bronze, 39 Merit
Mainland China: 1 Gold, 3 Silver, 22 Merit
Hong Kong-SAR: 1 Bronze, 3 Merit
India: 3 Silver, 3 Bronze, 22 Merit
Indonesia: 1 Bronze, 2 Merit
Japan: 10 Gold, 6 Silver, 9 Bronze, 17 Merit
Malaysia: 2 Merit
New Zealand: 1 Silver, 4 Bronze, 5 Merit
Philippines: 3 Merit
Singapore: 1 Gold, 2 Silver, 3 Bronze, 22 Merit
South Korea: 1 Gold, 7 Merit
Taiwan-China: 1 Gold, 1 Bronze, 4 Merit
Thailand: 1 Gold, 2 Silver, 2 Bronze, 14 Merit

Globally, FCB New York topped the list of Gold Pencil winners with 14, including 13 working with 456 Studios New York for “Dreamcaster” on behalf of AB InBev, Michelob ULTRA. That was also the entry to take home the most Golds this year.

A total of 20,038 pieces from 65 countries were entered in The One Show 2024. Agencies, studios, brands, production companies and designers in 50 countries were awarded 184 Gold Pencils, 206 Silver, 280 Bronze, and 1,120 Merits.

The showcase of all One Show 2024 Pencil and Merit winners can be viewed here, and a dynamic online list of the winners can be viewed here.

The One Show 2024 Best of Show, Best of Disciplines, special awards — including Fusion Pencil, Green Pencil, Sustainable Development Goals Pencil, and Penta Pencil — and “of the Year” honors will be announced tomorrow, May 17, at The One Show 2024 gala awards ceremony at Cipriani Wall Street in New York to close out Creative Week 2024.

See Asia’s Silver and Bronze Pencils by country below;

Japan
Silver
• DENTSU INC. Tokyo ‘DEPARTURES TO COUNTLESS FUTURES’ for NIKKEI/The Hoshi Awards in Print & Promotional
• DENTSU INC. Tokyo ‘MY JAPAN RAILWAY’ for JR GROUP in Design
• DENTSU INC. Tokyo ‘Reach for the Summit’ for THE HOKKOKU SHIMBUN in Design
• SIX inc. Tokyo ‘Play Has No Limits feat. King Gnu’ for Sony Interactive Entertainment / PlayStation in Gaming
• SIX inc. Tokyo ‘A Train of Memories’ for Sotetsu Holdings in Film & Video
• TBWA\HAKUHODO Inc. Tokyo ‘SHELLMET’ for Koushi Chemical Industry Co., Ltd. in IP & Product Design

Bronze
• Dentsu Digital Inc. ‘Masahiro Maruyama.com’ in Design
• Dentsu Digital Inc. ‘MY JAPAN RAILWAY’ for JR GROUP in Experiential & Immersive
• Dentsu Digital Inc. ‘MY JAPAN RAILWAY’ for JR GROUP in Interactive & Mobile Craft
• Dentsu Digital Inc. ‘Driving Sun — Rally Japan 2023’ in Design
• Dentsu Digital Inc. ‘beautiful panic’ for The Ad Museum Tokyo in Design
• SIX inc. / Tokyo ‘WILD MOMENT’ for TOYOTA MOTOR CORPORATION in Design
• SIX inc. / Tokyo ‘A Train of Memories’ for Sotetsu Holdings in Moving Image Craft & Production
• TBWA\HAKUHODO Inc. Tokyo ‘ProPILOT MOP’ for Nissan Motor Co., Ltd. in Direct Marketing
• TBWA\HAKUHODO Inc. Tokyo ‘SHELLMET’ for Koushi Chemical Industry Co., Ltd. in Creative Effectiveness

Singapore
Silver
• VML Singapore ‘Change the Angle’for Lux in Creative Effectiveness
• VML Singapore ‘Change the Angle’ for Lux in Health & Wellness
• MullenLowe Singapore ‘As Close as You Can Get – Concert’ for PRISM+ in Film & Video

Bronze
• Kinetic Singapore ‘School of Tomorrow’ for DesignSingapore in Design
• BLKJ Havas ‘Guide Play’ for JBL in Gaming
• MullenLowe Singapore ‘As Close as You Can Get – Concert’ for PRISM+ in Film & Video

India
Silver
• Leo Burnett India ‘The Biochar Project’ for Lay’s India in IP & Product Design
• Leo Burnett India ‘Lay’s Smart Farm’ for Lay’s India in Interactive, Online & Mobile
• Ogilvy India ‘Vi Human Network Testing Network’ for Vodafone Idea Ltd. in Out of Home

Bronze
• Brand David Communications Mumbai ‘The Sweet Truth’ for Colgate Palmolive India in Film & Video
• Leo Burnett India ‘IKEA SKIP ADS THAT SAVE TIME’ for IKEA in Film & Video
• Leo Burnett India ‘Oreo #BringBack2011’ for Oreo in Creative Effectiveness

China
Silver
• T-Change Design Studio / Nanjing ‘Sunny Days’ for Lingnan Art Publishing House in Design
• TBWA\Media Arts Lab Shanghai ‘Shot on iPhone Little Garlic Chinese New Year’ for Apple in Film & Video
• TBWA\Media Arts Lab Shanghai ‘Shot on iPhone Little Garlic Chinese New Year’ for Apple in Moving Image Craft & Production

Thailand
Silver
• Wolf BKK ‘The Air Drummer’ for Robinson Department Store in Film & Video
• VML Bangkok ‘Boonthavorn Live Our Way’ for Boonthavorn in Film & Video

Bronze
• Wolf BKK ‘The Air Drummer’ for Robinson Department Store in Branded Entertainment
• Edelman Bangkok ‘Dove Let Her Grow’ for Unilever / Dove in Public Relations

Hong Kong
Bronze
• Ogilvy Hong Kong ‘Undercover’ for Women Helping Women Asia in Radio & Audio-First

Indonesia
Bronze
• INNOCEAN Indonesia ‘Yellow Canteen’ for Dulux in Experiential & Immersive

Taiwan
Bronze
• Leo Burnett Taiwan ‘Paper Organs’ for Taiwan Organ Sharing Registry and Patient Autonomy Promotion Center in Experiential & Immersive

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HYBE chairman Bang Si-hyuk calls ADOR's Min Hee-jin 'malicious individual' in first public statement - Hindustan Times

Edited by Ananya Das

May 17, 2024 03:11 PM IST

In a petition, Bang Si-hyuk requested the court to side with HYBE on an injunction that Min Hee-jin had previously filed.

HYBE chairman Bang Si-hyuk has criticised Min Hee-jin in his first public statement since the agency’s feud with ADOR began. As reported by Korea Joongang Daily, Bang Si-hyuk made the statement during a court hearing on Friday. The remark was part of a petition that will be submitted to the court. (Also Read | HYBE says ‘greedy’ Min Hee-jin planned emails by NewJeans members' parents: We have evidence)

HYBE chairperson Bang Si-Hyuk spoke about ADOR and CEO Min Hee-jin.

Bang Si-hyuk slams Min Hee-jin

The HYBE founder said, “I understand that some view Min Hee-jin’s actions as highlighting the problems of a multilabel system. However, no matter how sophisticated the system is or how thorough the contracts are, nothing can completely deter human malice. The actions of one malicious individual should not be allowed to damage the system that may have been built over a long time. I believe that this is the strength of our social system, which prevents personal malice and wrongdoing from destroying social institutions and order.”

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Bang Si-hyuk regrets HYBE-ADOR feud causing concern among people

Reportedly, he also asserted his determination to set appropriate rules and precedents for the entirety of the K-pop industry. “I deeply regret that this incident has caused concern to the public, especially when we, as an entertainment company, should be delivering joy. I sincerely hope that this genuine sentiment reaches you and that the court will make a wise decision to dismiss the injunction,” he added.

What is Bang Si-hyuk's request to court

In the petition, Bang Si-hyuk requested the court to side with HYBE on an injunction that Min Hee-jin had previously filed. It sought to prevent HYBE from exercising its voting rights at the ADOR’s shareholders’ meeting scheduled for May 31. HYBE holds an 80 percent stake in its subsidiary ADOR. The main agenda of the meeting item is to remove the ADOR CEO from her executive position.

What step will court take next

The Seoul Central District Court didn't reach a decision on Friday. The court would further ask both HYBE and ADOR to file additional evidence by next Friday (May 24). It would reach a ruling before May 31.

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Get more updates from Bollywood, Taylor Swift, Hollywood, Music and Web Series along with Latest Entertainment News at Hindustan Times.

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APAC takes home 22 Gold Pencils at The One Show 2024: Japan and Australia lead the way - Campaign Brief Asia

May 16 2024, 8:00 pm | BY Kim Shaw | No Comments

11 countries and regions in Asia Pacific have collected 22 Gold Pencils, 19 Silver, 38 Bronze, and 162 Merits in The One Show 2024. The top performing agencies in APAC were Dentsu Inc. Tokyo and VML Australia Melbourne, who led the region with five Gold Pencils each, and TBWA\Hakuhodo Inc. Tokyo won three Golds.

The One Show 2024 Gold Pencil winners in APAC are as follows.

[embedded content]

China
TBWA\Media Arts Lab Shanghai with The Mill + TRAFIK + RadicalMedia “Shot on iPhone Little Garlic Chinese New Year” for Apple in Branded Entertainment

[embedded content]

Thailand
• Lazada Bangkok for its own “An Unnecessary Love Story” in Brand-Side / In-House, Branded Content

[embedded content]

The showcase of all One Show 2024 Pencil and Merit winners can be viewed here, and a dynamic online list of the winners can be viewed here.

See Asia’s Silver and Bronze Pencils by country below;

Thailand
Silver
• Wolf BKK ‘The Air Drummer’ for Robinson Department Store in Film & Video
• VML Bangkok ‘Boonthavorn Live Our Way’ for Boonthavorn in Film & Video

Bronze
• Wolf BKK ‘The Air Drummer’ for Robinson Department Store in Branded Entertainment
• Edelman Bangkok ‘Dove Let Her Grow’ for Unilever / Dove in Public Relations

Hong Kong
Bronze
• Ogilvy Hong Kong ‘Undercover’ for Women Helping Women Asia in Radio & Audio-First

Indonesia
Bronze
• INNOCEAN Indonesia ‘Yellow Canteen’ for Dulux in Experiential & Immersive

Taiwan
Bronze
• Leo Burnett Taiwan ‘Paper Organs’ for Taiwan Organ Sharing Registry and Patient Autonomy Promotion Center in Experiential & Immersive

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Thursday, May 16, 2024

Jogja-Netpac Asian Film Festival Sets Inaugural Market – Cannes - Variety

Indonesia‘s Jogja-Netpac Asian Film Festival (JAFF) will unveil its inaugural JAFF Market in December. The initiative was announced at the Cannes Film Festival on Thursday.

This new three-day event aims to reshape the Indonesian film industry by fostering networking, innovation and collaboration among various sectors.

Since its start in 2006, JAFF has played a crucial role in nurturing Indonesian cinema, helping many filmmakers rise. “JAFF has consistently strengthened the film ecosystem,” said festival director Ifa Isfansyah.

The JAFF Market will cover 10,000 square meters, featuring over 150 booths with production companies, content creators and service providers. Leading the initiative is experienced producer Linda Gozali, former secretary-general of the Indonesian Film Festival. “We look forward to creating new connections and opportunities,” said Gozali.

The event highlights the rapid post-pandemic recovery of Indonesia’s film industry, which saw local films capture 61% of the market in 2022. The industry fully rebounded in 2023. Despite being the largest market in Southeast Asia, Indonesia’s screen industry lacked a dedicated showcase. JAFF Market aims to fill this gap by becoming Indonesia’s largest film and content marketplace, uniting professionals, emerging talents and key stakeholders.

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Developed with support from the country’s Ministry of Education, Culture, Research and Technology, JAFF Market seeks to enhance Indonesia’s international film presence. “JAFF’s initiative will facilitate easier access for the international community,” said Ahmad Mahendra, director of film, music and media at the Ministry.

Indonesia’s screen industry, with an economic impact of over $8 trillion and employing 387,000 people, per data provided by JAFF, is poised for further growth. JAFF Market’s various programs – including a project market led by producer Meiske Taurisia – aims to help emerging filmmakers connect with industry professionals to develop high-quality projects. Taurisia has been involved in organizing the LOCK Full Circle Lab, alongside Yulia Evina Bhara, Muhammad Zaidy and Vivian Idris.

Filmmaker Angga Sasongko, who is the CEO of the Visinema Group, and Falcon Pictures’ H.B. Naveen both emphasize JAFF Market’s potential to be a central hub for the Indonesian film industry. “It’s fitting for Indonesia to showcase its industrial strength,” said Naveen.

JAFF Market takes place Dec. 3-5 at the Jogja Expo Center in Yogyakarta, Indonesia. The film festival runs Nov. 30-Dec. 7.

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How OpenAI's Sora hurts the creative industries | Brookings - Brookings Institution

Since its release earlier this year, OpenAI has continued to evolve its new Sora technology and introduce it to many potential users. That includes a range of big movie studies, where OpenAI debuted Sora to Paramount, Warner Brothers Discovery, and Universal—despite the dust still settling from last year’s writer and actor strikes. For the film and entertainment audiences, OpenAI has touted Sora’s ability to translate text-prompt data into a minute or less of high-quality video. Before these previews, Sora’s availability was limited to “red team” testers, who were searching for misinformation and bias, as well as critical errors and risks. In late March, Sam Altman, one of OpenAI’s founders, took Sora “on the road” to woo Hollywood into adopting its latest advances—or at least the leaders bold enough to do business with him given writers’ concerns about the technology taking their jobs.

In this first of a two-part blog series, we explore the impact of the Sora technology on the creative industry, especially among industry film giants, who—if enticed to use the technology—could reinvigorate many of the concerns around copyright and intellectual property protections previously voiced by creators, particularly in acting and writing roles. Sora’s evolution stands out as unique from its predecessors in generative AI chiefly due to its much-heightened degrees of visual definition and detail. Building on the foundations of their 2023 generative image model, DALL·E 3, which artificially generates an image based on text input, OpenAI’s Sora combines DALL·E 3’s diffusion model with a transformer neural network to turn pixel fuzz into sequenced images, increasing performance abilities by processing data in chunks. Although Sora is still demonstrating certain imperfections in areas of object permanence and long-range coherence, the model’s grasp of object interaction and spatial relationships far exceeds the capabilities of its predecessors and therefore changes the entertainment industry in fundamental ways.

Sora’s early impacts on the film industry

Almost as soon as Sora was launched, it provoked heated discussions from creatives. Well-known producer and big-studio owner Tyler Perry has already shared that seeing the technology led him to hit pause on an $800 million expansion of his own Atlanta studio, citing concerns about not being able to keep up with the technology, which he believes “will touch every corner of [the film] industry.”

Early demonstrations of Sora may soon confirm Perry’s fears. Currently, the text-to-video model can produce cinematically appealing minute-long videos, which could replace traditionally filmed shots and perhaps short clip commercials. The continued evolution of the technology could have several implications for in-movie set production, including turning physical backdrops into simulated remote sets, potentially replace human acting roles, and dislocate the tasks of entire crews, including writers, designers, and artists involved in the end-to-end process of filmmaking.

Fresh on the heels of the 118-day-long SAG-AFTRA strike and the grievances of the Writers Guild of America (both of which were eventually settled), many are seeing Open AI’s meetings with Hollywood studios, talent agencies, and media executives as another strategic move by the AI firm—only this time, one aimed at appeasing the industry’s production side, rather than its writers. Those involved in the meetings reported that CEO Altman and COO Brad Lightcap’s presentations also were focused on gathering advice from film leaders on how best to approach Sora’s public rollout, set for later this year. And despite the critics, there are some in Hollywood who are optimistic about the possibility of the AI technology, especially about how it could offset time and costs incurred before and during the production process.

Could this be a three-peat for the creative industry?

Despite Hollywood workers averting the first wave of perceived perils by generative AI, they may be at it again soon, if not now. The emerging consensus remains that either legislation or regulation will be necessary to protect the nearly 550,00 people employed by the U.S. film, television, and animation industry from suffering undue consequences of Sora and similar tools’ deployment. Already, a 2024 study has demonstrated that 75% of film companies that have adopted AI reduced, consolidated, or eliminated jobs after incorporating the technology. The study, commissioned by unions representing Hollywood artists like animators and cartoonists, also estimates that by 2026 more than 100,000 of U.S. entertainment jobs will be disrupted by generative AI—with particularly heavy regional impact on jobs in California and New York. The study’s findings are especially concerning, given that its analysis predates the announcement of OpenAI’s Sora text-to-video model.

Preparing for union action

Amid these growing threats, which pre-date Sora, labor unions are preparing for action once again. A member of Animation Guild’s AI strategy committee, Sam Tung, said that the union would prioritize clearer AI rules as a major agenda point during this year’s contract negotiations. However, unlike at the start of the strikes by the WGA and SAG-AFTRA 10 months ago, a greater spirit of optimism resides within this set of workers. At a March rally in Los Angeles, Matthew Loeb, president of the International Alliance of Theatrical Stage Employees (IATSE), urged fellow union members to open themselves to the idea of using AI to increase efficiency, saying “we want some of the spoils of artificial intelligence.” Like the Animation Guild, IATSE plans to prioritize AI guardrails in their contract negotiations this summer. A primary focus of IATSE and similar labor groups will center around how best to fit these guardrails to serve the wide variety of disciplines represented in their membership. While potential threats from AI technologies like Sora may primarily impact the production side, big film studios will not be off the hook when it comes to negotiating strong clauses around AI use now and in the future.

Sora’s evolution marks a significant pivot in the Hollywood worker struggles. While the original strike was spearheaded by TV and film writers, the advent of sophisticated generative video AI is of particular concern for workers responsible for film sets, shooting, and editing. Production workers should bear their writer counterparts’ success in mind, using last year’s union strikes as an example of how they could collectively bargain for expressed protection from video AI tools like Sora.

In the present moment, however, the threat to film production laborers does not seem to be an all-encompassing problem. To date, OpenAI has noted Sora cannot currently handle shot or sequencing continuity, nor can it create Hollywood-standard stories, dialogue, or stage cues. Instead, if adopted soon, Sora is most likely to be used to enhance pitch decks, automate editing tasks, and overcome barriers for initial entry into the film industry.

Sora’s renewal of AI copyright concerns

Much like its companions in the generative AI space, Sora is trained on “publicly available” and “licensed” content, according to OpenAI. But which “publicly available” works are included in Sora’s training sets? Since the company has refused to disclose any further information about the materials on which Sora has been “trained,” aside from the fact that their material included licensed content from Shutterstock, many have inferred that OpenAI’s Sora data practices may include copyrighted videos. In an interview with the Wall Street Journal, CTO Mira Murati had difficulty answering questions about exact sources of Sora’s training data. Responding to a question about whether the tool had been trained on YouTube videos, Murati replied, “I’m actually not sure about that.” Murati’s response was the same for content from Facebook and Instagram. If OpenAI were found to have used data from sources like YouTube, it would be a “clear violation” of the platform’s Terms of Service, according to YouTube CEO Neal Mohan.

It also would not be the first time OpenAI has faced copyright violations. In 2021, met with the possibility of running out of English-language text data for training their latest model, GPT-4, researchers at OpenAI created a tool called Whisper to scrape and transcribe YouTube audio content into digestible text that could be fed to their latest AI system. While OpenAI is certainly not alone in their training abuses of online material, they are less restricted by privacy protections than their counterparts at companies like Google and Meta. In response, a barrage of copyright and licensing lawsuits have been brought upon the AI firm, with the New York Times suing both OpenAI and Microsoft in December 2023 for “using copyrighted news articles without permission to train A.I. chatbots.” OpenAI maintains that their use of the articles was permitted under copyright law, as they transformed the written works for a new purpose. But as litigation lingers, creators appear to still come out on the losing end. In addition to transparency and the opportunity to grant consent, at least, these creatives deserve compensation for their work—upon which many of them depend for income.

For now, Sora’s rapid progress has blurred clear copyright lines, and whether the studios will be enticed by its efficiency (especially by its cost) in the production side of the business remains to be seen. In part two, we will address Sora’s application to elections, which has some of the same culpabilities when it comes to technical performance, only this time the audience will be prospective voters.

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Jogja-Netpac Asian Film Festival Sets Inaugural Market – Cannes - Variety

Indonesia‘s Jogja-Netpac Asian Film Festival (JAFF) will unveil its inaugural JAFF Market in December. The initiative was announced at the Cannes Film Festival on Thursday.

This new three-day event aims to reshape the Indonesian film industry by fostering networking, innovation and collaboration among various sectors.

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JAFF Market takes place Dec. 3-5 at the Jogja Expo Center in Yogyakarta, Indonesia. The film festival runs Nov. 30-Dec. 7.

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Asian Content Attracts and Retains 80% of Region's VOD Audiences, Report - Yahoo News UK

Asian audiences are increasingly turning to homegrown content in their streaming choices. Asian titles powering 80% of premium VOD engagement and customer acquisition, according to new research from research and consultancy firm Media Partners Asia.

“The Rise of Asian Content” is based on passive tracking of 40,000 users by sister company AMPD in nine major Asian markets – Japan, Korea, Singapore, Taiwan, Indonesia, Malaysia, Philippines and Thailand – over 15 months between Jan. 2023 and March 2024.

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“Content originating from Korea, Japan, China, Indonesia and Thailand drives 70-75% of premium VOD engagement, acquisition and hits in Asia,” said MPA lead analyst Dhivya T.

“While the impact and travelability of K-dramas and anime is well-established, Chinese, Thai and Indonesian content are also emerging as important categories. Modern Chinese dramas are increasingly taking on K-drama-like storylines and themes, appealing to wider audiences through platforms like Netflix and Viu, relative to traditional Chinese costume fantasy dramas, which remain popular in Thailand and Taiwan.

“In Indonesia and Thailand, key studios (Screenplay, MD Entertainment, The One Enterprise, GDH 559) are growing into producers of streaming hits, with Thai drama, romance, comedy, and Indonesian horror emerging as the genres with the highest regional travelability and appeal,” said the analyst.

Korean content continues to stand out as Asia’s leading content category with over 40% of engagement and hits and 30% of customer acquisition. Korea is also the largest destination for content investment, attracting an estimated $1.3 billion from major streamers Netflix, Viu, Disney and Amazon Prime Video in 2023.

A variety of genres contribute to the Korean wave. While romance remains hugely popular, revenge plots (“Taxi Driver”), supernatural fantasies (“Island,” “The Uncanny Counter”), strong female-led thrillers and comedies (“The Glory,” “Mask Girl”) were among the top titles of 2023-24. The variety and reality catecory maintains a strong following for networks staples such as “Running Man,” while expanding into new formats such as Netflix’s “Physical: 100.”

Anime is the “cornerstone of Japanese content travelability,” according to the report. It captures 60-70% of Japanese content engagement, acquisition and hits in Asia and over 90% in Southeast Asia.

The anime production industry is supported by a large, decentralized studio ecosystem, where over with 50 different studios contributing to the top 100 anime titles in 2023-24.

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Wednesday, May 15, 2024

Asian Content Attracts and Retains VOD Audiences, Report - Variety

“Content originating from Korea, Japan, China, Indonesia and Thailand drives 70-75% of premium VOD engagement, acquisition and hits in Asia,” said MPA lead analyst Dhivya T.

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The anime production industry is supported by a large, decentralized studio ecosystem, where over with 50 different studios contributing to the top 100 anime titles in 2023-24.

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ONE OK ROCK Announces ‘Premonition’ Stadium & Arena World Tour: See the Dates - Billboard

ONE OK ROCK announced the dates for its PREMONITION WORLD TOUR 2024 kicking off with two Tokyo stadium shows in September.

This global trek will be the largest ever for the “Make It Out Alive” rock band, with eight concerts in seven cities to be held in stadiums in Asia and arenas in North America and Europe. The Japan shows are set for the Ajinomoto Stadium in Tokyo on Sept. 14 and 15.

The four-man band is also hosting a series of joint gigs starting this weekend entitled SUPER DRY SPECIAL LIVE Organized by ONE OK ROCK. The “Renegades” rockers will share the stage with different acts at Saitama’s Belluna Dome and Osaka’s Kyocera Dome Osaka over three days, with WANIMA appearing Saturday (May 18, Belluna), Awich on Sunday (May 19, Belluna), and Vaundy next Saturday (May 25, Kyocera).

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See the dates for ONE OK ROCK’s upcoming world tour below:

Sept. 14 – Tokyo, Ajinomoto Stadium
Sept. 15 – Tokyo, Ajinomoto Stadium
Sept. 21 – Kaohsiung, Taiwan, Kaohsiung National Stadium
Oct. 5 – Dusseldorf, Germany, Mitsubishi Electric Halle
Oct. 7 – Paris, France, Zenith
Oct. 11 – London, U.K., OVO Arena Wembley
Oct. 18 – Toronto, Canada, Coca-Cola Coliseum
Oct. 23 – Los Angeles, U.S.A., Kia Forum

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Tuesday, May 14, 2024

NIKI Announces Biggest World Tour To Date 40+ Markets Across North America, Europe, Uk, Asia, Australia + New Zealand - livenationentertainment.com

THIRD STUDIO ALBUM BUZZ OUT AUGUST 9, 2024

(tour flyer, credit: Courtesy of NIKI/88rising — download HERE)

“Something NIKI does really well is get to the emotional heart of the matter.”

– NPR

“NIKI has returned with a gorgeous piece of folk-pop that’s wise beyond its years.”

– PAPER

“a sonic time capsule of a breakup album that explores heartache in perhaps its most devastating form”

– Vanity Fair

“NIKI has gone from self-made YouTube artist to a history-making star.”

– GRAMMY.com

Today, global icon and singer-songwriter NIKI announces her biggest tour to date spanning 41 markets in North America, Europe, the UK, Asia, Australia, and New Zealand. These dates, produced by Live Nation, will celebrate the release of her ambitious and sonically-expansive upcoming album Buzz out August 9, 2024 via 88rising. Fellow singer-songwriters Allison Ponthier and Amy Lee will join as support in North America and Europe, respectively.

TICKETS – NORTH AMERICA: Tickets for shows in North America will be available starting with a Citi presale (details below) beginning today. Fans can also sign up now at nikizefanya.com to access the artist presale beginning Wednesday, May 15 at 10am local time. Additional presales will run throughout the week ahead of the general onsale starting Friday, May 17 at 10am local time at nikizefanya.com.

PRESALE: Citi is the official card of the NIKI: Buzz World Tour. Citi cardmembers will have access to presale tickets beginning today at 10am local time until Thursday, May 16 at 10pm local time through the Citi Entertainment program. For complete presale details visit citientertainment.com.

TICKETS – EUROPE/UK: Tickets for shows in Europe/UK will be available starting with a Mastercard presale (details below) beginning Wednesday, May 15. Fans can sign up now at nikizefanya.com to access the artist presale beginning Wednesday, May 15 at 10am local time. Additional presales will run throughout the week ahead of the general onsale starting Friday, May 17 at 10am local time at nikizefanya.com.

MASTERCARD PRESALE: Mastercard cardholders have special access to presale tickets in Paris, Manchester, and London starting from Wednesday, May 15 at 10am local time. Visit priceless.com/music to find out more.

TICKETS – ASIA, AUSTRALIA + NEW ZEALAND: Tickets for all shows in Asia, Australia and New Zealand will go on sale at a later date. Sign up HERE for more info when announced.

Earlier this month, Buzz was announced alongside a lead single “Too Much Of A Good Thing” which ushered in this flirty, confessional, and deeply relatable new era for NIKI. Read more about the track in The New York Times and UPROXX, and watch the accompanying music video shot on 16mm film HERE.

(press photo, credit: Courtesy of NIKI/88rising — download HERE)

NORTH AMERICA

Sep 5, 2024 – Toronto ON – Budweiser Stage

Sep 7, 2024 – Boston MA – MGM Music Hall at Fenway

Sep 8, 2024 – Washington DC – The Anthem

Sep 12, 2024 – Philadelphia PA – The Met

Sep 13, 2024 – New York City NY – SummerStage in Central Park

Sep 16, 2024 – Charlotte NC – Skyla Credit Union Amphitheatre

Sep 17, 2024 – Atlanta GA – Coca-Cola Roxy

Sep 19, 2024 – Houston TX – 713 Music Hall

Sep 20, 2024 – Austin TX – Moody Amphitheatre

Sep 21, 2024 – Dallas TX – The Pavilion at Toyota Music Factory

Sep 25, 2024 – Chicago IL – Byline Bank Aragon Ballroom

Sep 27, 2024 – Minneapolis MN – The Armory

Sep 29, 2024 – Denver CO – Fillmore Auditorium

Oct 1, 2024 – Salt Lake City UT – The Union Event Center

Oct 3, 2024 – Berkeley CA – The Greek Theatre *

Oct 8, 2024 – Phoenix AZ – Arizona Financial Theatre

Oct 10, 2024 – Las Vegas NV – The Chelsea at the Cosmopolitan

Oct 11, 2024 – Los Angeles CA – The Greek Theatre

Oct 14, 2024 – San Diego CA – Cal Coast Credit Union Open Air Theatre

Oct 17, 2024 – Portland OR – Alaska Airlines’ Theater of the Clouds

Oct 18, 2024 – Seattle WA – WAMU Theater at Lumen Field

Oct 19, 2024 – Vancouver BC – Rogers Arena

* Non-Live Nation Date

EUROPE

Oct 27, 2024 – Brussels BE – La Madeleine

Oct 29, 2024 – Cologne DE – Palladium

Nov 1, 2024 – Paris FR – L’Olympia

Nov 2, 2024 – Rotterdam NL – Poppodium 013

Nov 6, 2024 – Manchester UK – O2 Apollo Manchester

Nov 7, 2024 – London UK – OVO Arena, Wembley

Nov 10, 2024 – Dublin IE – 3Olympia Theatre

ASIA

Feb 9, 2025 – Hong Kong

Feb 11, 2025 – Manila

Feb 12, 2025 – Manila

Feb 14, 2025 – Jakarta

Feb 15, 2025 – Jakarta

Feb 18, 2025 – Singapore

Feb 20, 2025 – Taipei

Feb 22, 2025 – Bangkok

Feb 25, 2025 – Kuala Lumpur

Feb 26, 2025 – Kuala Lumpur

AUSTRALIA & NEW ZEALAND

Mar 5, 2025 – Perth AU

Mar 7, 2025 – Brisbane AU

Mar 9, 2025 – Sydney AU

Mar 13, 2025 – Melbourne AU

Mar 15, 2025 – Auckland NZ

(Buzz Album Cover — download HERE)

What eventually became Buzz, the third studio album by singer-songwriter and globally-renowned star NIKI, started with an urgent quake from the innermost core of her being. What surfaced in its wake was a collection of warm, stirring folk-rock songs, which crackle and flare like a bonfire between close confidantes. “I went through an identity crisis,” says the 25-year-old of Buzz. “It took a lot of trial and error, and I just stumbled upon pieces of myself along the way. I named it Buzz because it feels like I’m on the precipice of something about to happen.”

For NIKI, things have been happening progressively since she was a high schooler in Jakarta, Indonesia. As a student at an international academy, she cut her teeth scribbling lovesick poems in English class and performed acoustic guitar covers of American pop songs on YouTube. With a six-string in hand, and her family and classmates cheering her on from the audience, Nicole Zefanya then staked her claim to global stardom as NIKI.

And claim it she has – with over three billion streams worldwide, sold out shows on multiple continents, massive sets at festivals across the globe, front row seats at Paris Fashion Week, four songs on a Marvel film’s soundtrack, and some of the most phenomenal, confessional songs being released in 2024, NIKI has already established a veteran’s resume before the age of 25.

On Buzz, her songwriting remains as intimate as ever. In her initial sketches of songs for Buzz, NIKI took cues from other lane-paving women with confessional, honest lyricism soundtracked by guitars. “Joni Mitchell is my songwriting north star,” she says — and uncompromising feminist luminaries like Stevie Nicks, Carly Simon and Liz Phair. To match the wandering spirit of Buzz, NIKI cultivated her own elastic approach to guitar.

To further harness this creative and personal sea change, NIKI began enlisting producers who had worked with her favorite contemporary singer-songwriters. She tapped Tyler Chester, who’d captured tracks with Madison Cunningham and Sara Bareilles; she also recruited Ethan Gruska, who counts Fiona Apple and Phoebe Bridgers as collaborators.

Buzz reverberates with the hard-earned wisdom of a young woman who charges dauntlessly towards her dreams — but can still spare a laugh if she stumbles.

FOR MORE ON NIKI:

WEBSITE | TWITTER | INSTAGRAM | TIKTOK

About Live Nation Entertainment

Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, and Live Nation Sponsorship. For additional information, visit www.livenationentertainment.com.

Press Contacts:

Jen Appel

[email protected]

Chrissy Borsellino

[email protected]

Lily Sanders

[email protected]

Live Nation Concerts:

Monique Sowinski

[email protected]

Maya Sarin

[email protected]

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Monday, May 13, 2024

K-pop fans around globe rally for climate and environment goals - The Associated Press

JAKARTA, Indonesia (AP) —

Fans of Korean pop bands around the world are increasingly channeling their millions-strong online community into climate and environmental activism, protesting business deals linked to coal power, urging K-pop entertainers to cut waste and raising awareness about climate-related issues.

Other climate activist groups have begun joining forces with Kpop4Planet, an environmental group founded in 2021 by K-pop fans Nurul Sarifah and Dayeon Lee. After Kpop4Planet petitioned South Korean automaker Hyundai Motor Co., it recently scrapped a deal linked to coal power plants in Indonesia.

The ability to quickly organize a large, dedicated group has made K-pop fans an increasingly influential lobby online as they participate in protests and promote causes that have included the Black Lives Matter movement. Politicians also have tried to tap into that power.

“I spotted how K-pop fans can be seen as a potential power,” said Sarifah. “We think we can harness that power for climate change action.”

In 2021, Korea Beyond Coal— a coalition of civic groups calling for South Korea to stop using coal power — teamed up with Kpop4Planet in 2021 to raise awareness about plans for a coal-burning power plant.

The plant site near Maengbang Beach, the photo shoot location for album artwork for one of K-pop band BTS’s hit songs, is a popular destination for the band’s fans and a joint petition created by Kpop4Planet and Korea Beyond Coal got thousands of signatures.

“We realized Kpop4Planet has the experience of mobilizing and connecting people and sharing information using social media ... which is very helpful when it comes to climate campaigning,” said Euijin Kim, a communications officer for Solutions for Our Climate, which is part of Korea Beyond Coal.

The power plant is still going ahead, but the groups were able to raise awareness about the environmental issues caused by coal power, Lee said.

“We want to show the power and influence that the K-pop fans can have ... we believe that if we gather all together, we can make better social impacts and maybe change our society in more sustainable ways,” said Lee. “And, of course, love K-pop together.”

Korean pop culture fan clubs’ activism and philanthropy began in the 1960s, said Stephanie Choi, a postdoctoral associate at the University of Buffalo studying K-pop culture. Now, K-pop fans regularly organize thousands of people on social media platforms to buy gifts for wildly popular K-pop singers and bands, or promote other causes.

Sarifah and Lee have aligned Kpop4Planet’s activities with various causes, beginning with urging entertainment companies to cut back on waste related to the K-pop fan culture of collecting photo cards of band members, which are included in albums and sold as merchandise. K-pop labels often release multiple versions of albums with dozens of different photo cards, encouraging fans to bulk-buy albums to participate in lucky draws for meet-and-greet events with K-pop stars.

“The problem is that this creates a lot of waste,” Lee said in an interview. “We wanted to tackle that issue first, because it was the most well-known issue among K-pop fans.”

Entertainment companies haven’t directly responded to Kpop4Planet’s petitions and other approaches, but Lee still views the campaign as a success.

“There were changes after our campaigning: major entertainment companies published environmental, social and governance reports and published eco-friendly albums, including some releasing records using QR codes to minimize waste,” she said.

Kpop4Planet’s petition against Hyundai protested an agreement the company signed to buy aluminum from projects linked to coal power in Indonesia.

The memorandum of understanding signed in 2022 with a unit of one of Indonesia’s largest coal miners, Adaro Energy Indonesia, gave Hyundai the right to purchase low-carbon aluminum from an industrial park Indonesian officials portray as “green”.

However, the smelter used to make the aluminum initially will be powered by newly built coal-fired plants. Hydroelectric and solar power will power the industrial park at a later date.

Given K-pop group BTS’s collaboration with Hyundai, Kpop4Planet saw a chance to put their influence to work. In March 2023, Kpop4Planet launched a petition asking Hyundai to withdraw from the project until it phases out coal, and to disclose details of the energy used to make the aluminum. The petition got over 10,000 signatures in two months, and Kpop4Planet sent their pleas to Hyundai Motor’s headquarters. In March, Hyundai Motor said it had ended its agreement with Adaro.

“Following the expiry of the MOU at the end of 2023, both companies have decided not to renew it and to explore other opportunities independently,” a spokesperson for Hyundai Motor wrote in an email to The Associated Press.

Adaro did not respond to a request for comment sent by AP.

“This a victory of thousands of people, friends who took actions and also show that they genuinely care about the climate crisis and local communities,” said Sarifah.

___ Asia entertainment editor Juwon Park in Seoul contributed to this report.

___

Associated Press climate and environmental coverage receives support from several private foundations. See more about AP’s climate initiative here. The AP is solely responsible for all content.

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Cannes: Acclaimed Chinese Indie Film ‘A New Old Play’ Sells to France, Japan, SE Asia (Exclusive) - Hollywood Reporter

Chinese sales company Parallax Films has notched a batch of sales deals for director Qiu Jiongjiong‘s Locarno 2021 jury prize-winning historical drama A New Old Play. The acclaimed Chinese indie film has sold to France’s Carlotta Films, Japan’s Katsuben Cinema Club, and Singapore’s Cineaste Production House for distribution across all Southeast Asian territories, excluding Indonesia and Vietnam. All three companies are planning theatrical releases for the film later this year.

Based in Shenzhen, Qiu is both a filmmaker and a well-regarded contemporary artist. His work as an artist has been exhibited worldwide, and his filmmaking experiments with cinematic language and documentary techniques have earned him a reputation as one of China’s most important independent directors.

Loosely based on the life of the director’s grandfather, A New Old Play begins when the leading clown performer in a renowned theatre troupe passes away and is welcomed into the Underworld. As he relives his vivid memories one last time before entering the afterlife, 50 years of art, struggle and love play out against the background of 20th-century China’s tumultuous history. The film has an emotional immediacy but employs ironically distanced visual methods, including a theatrical tableaux filming style with conspicuously colorful and playful sets and supernatural fantasy sequences.

Qiu’s reputation has been on the rise steadily in recent years. In early 2024, both the University of Chicago and Hong Kong University staged retrospectives of his films. London’s Garden Cinema and Berlin’s CiLENS have similar screening series planned for later this year.

Qiu recently announced his next feature, Fuxi: Joy in Four Chapters. The project won the Project D Award at the Hong Kong Asian Film Financing Forum in March.

Based in Beijing, Parallax Films is the international film sales and distribution brand of Midnight Blur Films, specializing in the worldwide distribution of quality Chinese films and publicity at international film festivals.

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Sunday, May 12, 2024

TV industry in turmoil, says Floella Benjamin, as Bafta hands out the gongs - The Guardian

The television industry is “in turmoil” and needs “creative survival solutions” from the UK government, the children’s television presenter Floella Benjamin has said, as she accepted her Bafta fellowship on Sunday.

Lady Benjamin, best known as presenter of children’s programmes such as Play School, was praised in a video recording by Prince William at the Bafta Television Awards for being “an unwavering champion of inclusion” and for her power to “remind us of the power of empathy”.

The veteran television star said that whenever she had spoken out throughout her career she had been told “shut up or you’ll never work again”, but she had made it her mission for half a century to get broadcasters to “have diversity and inclusion in their DNA”.

During a glittering evening on the banks of the Thames, during which compelling crime drama Top Boy won best drama series, Benjamin used her speech to call for more help for the television industry and “high quality, regulated content” for children.

“Our industry is in turmoil, facing new technology, cuts and unemployment,” she said. “So government must provide creative survival solutions as we navigate this rapidly changing landscape.”

On a night that closed a chapter of prestige television – with 2023 seeing finales ranging from The Crown, Succession to Happy Valley, as well as Top Boy– the Bafta chair, Sara Putt, echoed the sentiment.

Speaking before the awards Putt had said the UK was a nation of “natural storytellers” who had created a “brilliantly mixed economy” of television, but in a speech to attenders she acknowledged that it had been “a really tough year for so many in our industry. For freelancers, indies, PSBs and broadcasters alike”.

Top Boy, which came to a “powerful and potent conclusion” at the end of last year, won two awards, with Jasmine Jobson accepting the Bafta for best supporting actress with a shout out to her niece. “My baby girl, Auntie Jasmine did it, I did it!,” she said.

Royal drama The Crown left empty handed after leading the field with eight nominations, while Happy Valley collected two awards. Succession went home with one award: best leading actor for Matthew Macfadyen for his role as Tom Wambsgans in the HBO drama.

After winning the Bafta for leading actress, the star of Happy Valley Sarah Lancashire thanked writer Sally Wainwright and the BBC “for giving this very British drama a very British home”.

The show also won in the most memorable TV moment category – the only award voted for by the public – for the series’ final kitchen showdown.

Accepting his Bafta for leading actor for his role in The Sixth Commandment, Timothy Spall lovingly called acting “a soppy old thing, standing up pretending to be someone and pissing around in costume”, but said it was a “beautiful thing” to tell the story of people who had been through horror.

“When it makes a difference and we can all share in the human condition […] even though acting is a silly stupid thing, it’s lovely,”

In glorious sunshine, the stars of British television made the obligatory tour down the red carpet into the ceremony at the Royal Festival Hall on Sunday afternoon, as crowds in London’s South Bank tried to catch a glimpse their small screen favourites.

Among the tuxedos and ball gowns were some more unusual outfits, including a strong showing from comedian Joe Lycett, who dressed as Queen Elizabeth I, replete with a silver cape and full Elizabethan ruff, thanks to a lost bet. Collecting the entertainment performance Bafta for his Channel 4 show Late Night Lycett, he said: “Thanks to my mum and dad, Anne Boleyn and Henry VIII.”

Opening the annual ceremony, co-hosts Romesh Ranganathan and Rob Beckett joked that stars accepting their awards should keep their speeches short and sweet. “If you find you’re lost for words, good. Keep it that way,” quipped Beckett.

The pair became emotional as they collected the comedy entertainment award for their show Rob and Romesh Vs. But Ranganathan was soon back to the gags, saying: “Can I just say what great awards these are … it’s a recognition of true talent and genius.”

Winning the award for best entertainment programme, Strictly Come Dancing presenter Tess Daly thanked Bafta “for making it worth putting on the Spanx on the hottest day of the year”, and thanked everyone involved in the show which is celebrating its 20th year. “It has been the most wonderful series,” she said.

Daytime TV presenter Lorraine Kelly beamed as she accepted the special award from Succession star Brian Cox to a standing ovation. Holding it aloft, she joked: “I’m on the telly tomorrow, but I’m going to celebrate tonight”.

Picking up the award for best female performance in comedy for her role in Black Ops, Gbemisola Ikumelo left the tears to others with a exuberant acceptance speech, joking that her agent would be telling her next employers: “Yesterday’s price is not today’s.”

Mawaan Rizwan, who won the Bafta for best male performance in a comedy, thanked his therapist, noting it was not the best week to discuss his reliance on external forms of validation.

Winners

Leading actress
Sarah Lancashire, Happy Valley (BBC One)

Leading actor
Timothy Spall, The Sixth Commandment (BBC One)

Drama series
Top Boy (Netflix)

International
Class Act (Netflix)

Limited drama
The Sixth Commandment (BBC One)

Supporting actor
Matthew MacFadyen, Succession (Sky Atlantic)

Supporting actress
Jasmine Jobson, Top Boy (Netflix)

Female performance in a comedy programme
Gbemisola Ikumelo, Black Ops (BBC One)

Male performance in a comedy programme
Mawaan Rizwan, Juice (BBC Three)

Scripted comedy
Such Brave Girls (BBC Three)

Comedy entertainment programme
Rob & Romesh Vs … (Sky Max)

Entertainment programme
Strictly Come Dancing (BBC One)

Entertainment performance
Joe Lycett, Late Night Lycett (Channel 4)

Single documentary
Ellie Simmonds: Finding My Secret Family (ITV1)

Factual Entertainment
Celebrity Race Across the World (BBC One)

Factual series
Lockerbie (Sky Documentaries)

Reality
Squid Game: The Challenge (Netflix)

Specialist factual
White Nanny, Black Child (Channel 5)

Live event
Eurovision Song Contest (BBC One)

Short film
Mobility (BBC Three)

Sport
Cheltenham Festival Day One (ITV1)

News coverage
Channel 4 News: Inside Gaza, Israel and Hamas at War (Channel 4)

Current affairs
The Shamima Begum Story (BBC Two)

Daytime
Scam Interceptors (BBC One)

Soap
Casualty (BBC One)

P&O Cruises Memorable Moment
Happy Valley: Catherine Cawood and Tommy Lee Royce’s final kitchen showdown (BBC One)

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Trending on Billboard

Tuesday, May 14, 2024

THIRD STUDIO ALBUM BUZZ OUT AUGUST 9, 2024

(tour flyer, credit: Courtesy of NIKI/88rising — download HERE)

Monday, May 13, 2024

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