The session united diverse voices including Hiroki Tanaka, Chief Manager of Animation at Japan’s Yomiuri Telecasting Corporation (YTV); Mohamed Salama, Head of Revenue Operations at MENA’s beloved SpaceToon Go; Zümrüt Pakoy, Warner Bros Discovery’s Programming Director for MENA; Arne Lohman, Executive Producer of German network ZDF; and Ali Syed, MBC’s Head of Acquisitions.
Balancing trends in content strategy
The push to expand globally while honoring regional identity emerged as a central talking point, and Hiroki Tanaka highlighted Japan’s shifting mindset, saying “For decades, we focused on domestic audiences, and now with global demand for Japanese culture surging, we’re rethinking strategies; like our new YTV Animation brand, which combines our storytelling heritage with co-productions for international markets.”
Zümrüt Pakoy echoed this duality, advocating for a “360 approach” that pairs global IPs with hyper-local storytelling. “We bring Looney Tunes to MENA, but we also platform heroes like Kral Şakir, Turkey’s beloved hedgehog. Kids here want to see themselves on screen, not just imported characters.”
Ali Syed chimed in, emphasising balancing legacy and innovation, stating “As an Arabic network, trust is everything, and parents know we’ll never compromise their values, whether the content is local or licensed.”
How to stay ahead of audience demands
With algorithms dictating viewing habits in this day and age, panelists revealed tactics to keep content fresh and relevant. Mohamed Salama shared how data drives localisation, saying “Our dubbing departments adjust humor and cultural references in shows like My Hero Academia, and make sure the content is relatable and also appropriate. This isn’t about censorship though, this is about connection.”
Pakoy added that engagement now spans platforms, and it’s important to have a presence in all mediums. “Kids toggle between TV, YouTube, and TikTok, and we make sure we meet them everywhere.”
For Arne Lohman, he claimed that quality trumps trends, saying “Public broadcasters like ZDF aren’t chasing clicks, we fund projects and collaborate with international studios to create IP that educates through artistry and animated excellence. Parents also trust us to prioritise safety and sensitivity over virality.”
YouTube: Frenemy or friend?
The panel unanimously reframed platforms like YouTube as a source of new and independent works, not necessarily as competition. Salama revealed part of SpaceToon’s strategy saying “We scout YouTube for indie creators and license their work for TV. It’s a talent pipeline and a way to test concepts risk-free.”
Lohman agreed: “YouTube’s a sandbox. When we find a concept, series or short we like, there’s potential for us to adapt it into a full series. It’s basically free R&D!”
Collaboration: The good, the bad, and the equitable
Partnerships were praised but came with caveats. Tanaka stressed equity, saying “When we partner with Southeast Asian studios, revenue-sharing models ensure mutual benefit. It’s not ‘Japan leads, others follow’ anymore.”
Pakoy warned against tokenism, saying “Co-development means letting local creators lead, one can’t just insert or assign a culture within an existing IP, but at the same time it’s important that we have representation across the board. It can be a sensitive and complex process, but we are here to make sure we are doing things right.”
SAC 2025 runs until May 5th at Expo Centre Sharjah, and for more information and the full agenda, visit https://www.sharjahanimation.com/.
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