At its “Nexplosion 2018” event, Line TV has outlined its plans to expand its offering to include original content, a “new music experience” and a high quality video service all free to users.
In a press statement, Kawin Tangudtaisak, content business director of Line Thailand, said: “In today’s mobile era, 90 per cent of Thailand’s mobile users are watching video online (source: TNS, the Connected Life 2017).
“This is in line with Line TV’s dramatic growth since the service launch. Within just three years, Line TV has grown to become Thailand’s leading online video platform with 20 million user downloads. Users now spend on average 176 minutes daily on Line TV (source: Nielsen).
“In addition, Line TV has expanded its partners to 161 content partners, up 90 per cent from 2016 including TV channels, producers, music labels, and news and magazines.
“Advertising spend on Line TV has also grown at over 100 per cent year on year. In fact, due to our strong partnership with leading TV channels, Line TV has been voted as Thailand’s no. 1 TV re-run platform (source: Nielsen), having acquired top prime time TV drama and entertainment content on an exclusive basis.”
Explaining Line TV’s aim to become Thailand’s No.1 online video platform, Kawin said “Line and our partners will continue to offer, create and market high quality content with first and exclusive TV re-runs and original content, all free to users.”
“This year, we are extending our TV re-run leadership by joining hands with top-rated TV channels, like Channel 3, WorkPoint, Channel 8, and provide full re-runs exclusively on Line TV, like one31 and GMM25.”
Kawin said Line was with major and up-and-coming partners such as TV Thunder, JSL Global Media, Bear Cave, Nomadik, GMMTV and Kantana Group to create original content, across series like “Together With Me: The Next Chapter”, “GGEZ”, “It’s Complicated”, “Hipster or Loser” and “The Deadline”, and programmes like “Dance Dance Dance”, “The Hidden Songs”, “Food Tribe”, “Kor Ku Tam Mai Penn”, and “Drag Race Thailand”.
Republished with permission from The Nation