AXN is full of action indeed. Close in the heels of the launch of the ‘The Man’s World Show’, the channel has announced the Asian edition of ‘The Amazing Race’. Meanwhile, ‘CSI Miami’ has been bringing some good numbers for the channel too.
From February 15, 2006 to March 15, 2006, AXN is on the lookout for participants to join ‘The Amazing Race Asia’, the very first ‘made in Asia for Asia’ version of ‘The Amazing Race’.
Elaborating on this, Ricky Ow, General Manager of SPE Networks, Asia, said, “‘The Amazing Race Asia’ fulfils the aspirations of millions of die-hard Asian fans, offering viewers in Asia the chance of a lifetime to be part of the Race. The series is AXN’s biggest original production initiative till date, and will span the width of our footprint in Asia not only in terms of production efforts, but also in terms of the level of participation by Asians, the overall sales and marketing, advertising and promotion campaign for this show. I am proud to say that ‘The Amazing Race Asia’ will truly be a production made in Asia for Asians.”
Meanwhile, ‘CSI: Miami’ has topped global free-to-air chart. AXN has been airing the CSI series. An official communiqué quoted that new research published showed that ‘CSI: Miami’ was the biggest hit on a global scale in 2005, followed by ‘Lost’ and ‘Desperate Housewives’.
Global TV Acquisitions, a new report from Informa Telecoms and Media, provides a unique analysis of the broadcast rights market worldwide. The report ranked top three FTA TV Series in 2005 in the order of ‘CSI: Miami’, ‘Lost’ and ‘Desperate Housewives’ in third place. This was based on the number of times programme was listed in year-end ‘top 10’ rankings worldwide.
Global TV Acquisitions has found that broadcast rights for film, sport and TV formats and series together generate some $40 billion in revenues globally each year. According to Adam Thomas, the report’s author, “The rights market has now returned to some stability following the collapse of Kirch, which sent shockwaves through the business. That upheaval, combined with the demise of the network premiere, has radically altered the prices being paid for content and the types of deals being struck. Free-to-air channels now prefer to buy single titles, rather than sign up to output deals which bundle in mediocre content of little interest to their viewers.”