314 million views.

That’s how many people need to watch for a movie to reach #1 on Netflix’s all-time global list.

And the surprise? It’s not a big action film with Hollywood stars. It’s K-Pop Demon Hunters, a musical animated movie in English and Korean.

The film launched on June 20. In just a few weeks, it climbed past Red Notice and Carry-on to take the top spot on Netflix. Even more impressive: it’s the only animated movie in Netflix’s all-time Top 10.

So the question is: did K-Pop Demon Hunters also win over audiences in MENA? And if yes, why?

Read on to learn about:

1. The Korean & Anime Waves in MENA: How this type of content became popular in the region?

2. My Analysis: How K-Pop Demon Hunters performed in MENA.

3. So What? What we can learn from it

The Korean & Anime Waves in MENA

First, let’s be clear on what K-Pop Demon Hunters actually is.

It’s a Netflix animated musical fantasy, about 1 hour and 30 minutes long. The story follows Huntr/x, a K-pop girl group who shine on stage but secretly fight demons. Their rivals, the Saja Boys, are demons in disguise, threatening both their fans and the world.

The movie blends pop music, action, and fantasy. It feels like a concert and an adventure at the same time. Even though it’s mainly in English (with just a few Korean lyrics), the whole story is built around Korean culture, K-pop, and its universe.

So, let’s look at the two big categories behind this movie: Korean content and Anime in MENA.

Six months ago, I looked at how much Korean content was available on local streaming services in MENA, and the truth was disappointing.

Here’s what I found:

• Only Viu had made Korean shows a clear part of its strategy, placing them alongside Turkish and Arabic series.

• Other platforms, Shahid, STARZPLAY, 1001, Noor Play, were still in “testing mode”, each with a limited number of Korean titles.

• Dedicated Korean carousels were rare, often hidden at the bottom of homepages.

Compared to Netflix, with its hundreds of Korean titles and heavy promotion, local players were far behind. If you want more details, I shared all my findings in this special report 👇

—

Now, let’s turn to Anime.

I know K-Pop Demon Hunters is not an anime in the strict sense. Anime usually refers to Japanese animation (or “hanguk aeni” for Korean animation). But this movie clearly has an anime-inspired visual style.

That’s why it’s important to look at how this type of content has been received in MENA, and why audiences here are already familiar with it.

Anime has been strong in MENA for decades, thanks to early Arabic dubbing. Classics like Grendizer and Captain Majid (Captain Tsubasa) aired in the 70s and 80s with Arabic voices and songs, making them feel local. Generations grew up with these shows, which is why anime still has a loyal fan base today.

You could find anime on local platforms like Shahid and STARZPLAY. But interesting moves happened recently:

• Yango Play partnered with Crunchyroll, offering a bundle subscription, including the full Yango Play package plus Crunchyroll huge anime library.

• A few weeks later, TOD (beIN streaming service) also signed with Crunchyroll, bringing a smaller selection of titles to its platform.

You’ll find more details about this bundle here:

So, while Korean content and Anime are both full of potential in MENA, they’re still treated as niche or specialty categories.

Which brings us back to K-Pop Demon Hunters.

I tracked its Netflix Top 10 ranking across 10 MENA countries: UAE, KSA, Egypt, Bahrain, Jordan, Kuwait, Lebanon, Morocco, Oman, and Qatar, since its launch in June.

The question I answered is: did K-Pop Demon Hunters really break through in these markets? 👇

My Analysis: How K-Pop Demon Hunters performed in MENA

Read more

My background is in content. I started in this industry at events like MIPCOM in Cannes. And for a long time, content and tech didn’t really mix. Not a lot of media professionals went to both MIPCOM and IBC.

That has changed.

Today, to really understand streaming, you need to look at everything: content, tech, advertising, and all the pieces that make a platform successful.

That’s also my mission with The Streaming Lab: connect the dots, explore new technologies, and see how they can bring value to the MENA streaming ecosystem.

That’s why I decided to attend IBC for the first time. And I did my homework: checking who attends, which companies exhibit, and what’s on the agenda.

This article is for first-timers like me, but also for IBC veterans who want a clear overview of what to expect this year 👇

Read on to learn about:

1. What’s IBC? A quick look at the numbers that make it one of the biggest media tech event in the world.

2. What you don’t want to miss: The key sessions from this year’s edition.

3. Let’s meet? How to connect and make the most of IBC networking.

What’s IBC?

IBC describes itself as a leading event for the media, entertainment, and technology industries, and the range of people who attend proves it.

• Media & Entertainment: broadcasters, distributors (cable, satellite, cinema), production and post-production companies, advertisers.

• Technology & Digital Services: cloud, immersive tech (VR/AR/MR), esports, gaming, OTT platforms, IoT, system integrators, hardware/software suppliers.

• Corporate & Industry Bodies: finance, retail, legal, consultancy, research, government, education.

• Telecoms & Infrastructure: telecom operators, mobile companies, equipment providers.

So yes, the IBC crowd is much broader than just tech.

One infographic sums this up well:

The number of attendees is impressive. Most companies come from Europe, especially the Netherlands, UK, Germany, US, and France, across 170 countries in total.

Africa and the Middle East make up only 4% of IBC attendees. I found very few tech companies from MENA on the list. We can definitely do better.

There are several ways to experience IBC, depending on your role:

• Visitor Pass: for media and tech professionals exploring the latest solutions.

• Technical Papers: for engineers and specialists looking for research and problem-solving.

• Conference Pass: for content and broadcast leaders who want to stay ahead of industry trends.

• Exhibitor, Student, and Press passes are also available.

Pricing ranges widely, from free visitor passes (if you register early) to €1,699 onsite for a conference pass.

This year, IBC launched something new: a network of content creators to share highlights and perspectives from the event. I really like this idea, very few industry events are doing it.

A great example is Neha Modi’s IBC Bites, which gives a fresh and engaging view of the show: check it out here.

What you don’t want to miss

What are the big topics this year? Collaboration, sports, AI, advertising, etc. Here are 6 sessions you should not miss:

When: 12 Sep, 12:00–12:30, Conference Room 1

Who: Pedro Pina (YouTube), Grace Boswood (Channel 4), moderated by Sasha Qadri

Why attend? Viewers are spending more time watching YouTube on their TVs. This session will explain how broadcasters can partner with YouTube to reach these audiences, grow their presence in the living room, and use the right tools to stay ahead

When? 12 Sep, 12:30 - 13:15, Conference Room 1

Who? Elena Petrova (A12 Telekom Austria Group), Harish Sarma (Yahoo Mail), Jorrit Eringa (Snap Inc), Katharine Wen (Sky), Liz Riemersma (Sling TV), moderated by Marion Ranchet Streaming Made Easy)

Why attend? Partnerships are changing the media world. Broadcasters, streamers, and social platforms are joining forces to reach younger audiences who now have endless options across devices. This session will show how smart collaborations can help content stand out and drive real growth.

When? 12 Sep, 15:00 - 15:45, Conference Room 1

Who? Colin Phillips (BT), Mansoor Fazil (NBC Universal), Marcos Obadia (TelevisaUnivision), Prashant Khanna (JioStar), Moderated by Ken Kerschbaumer (Sports Video Group)

Why attend? Streaming live sports is exciting, but also risky. Fans expect a flawless experience. This session will explain how to deliver sports at scale with the right tech, strong security, and precise planning.

When? 13 Sep, 15:00 - 15:30, Conference Room 1

Who? Evan Shapiro (ESHAP)

Why attend? Evan Shapiro is known for making sense of the chaos in media. In this session, he’ll share new data and his unique maps to explain why the industry may have finally reached a new balance, and what that means for everyone in it.

When? 13 Sep, 16:30 - 17:15, Conference Room 1

Who? Andy Hood (WPP), Fran Hale (Little Dot Studios), Julie Triolo (Fox Advertising), Justin Gupta (Google), Moderated by Rob Ambrose (Caretta Research)

Why attend? Advertising is under pressure. Broadcasters and agencies need new tech, smarter formats, and simpler models to survive. This session will explore the latest in interactive ads, how to fit them into existing systems, and how to keep revenues sustainable for everyone.

When? 14 Sep, 14:05 - 15:05, Conference Room 1

Who? Blake Basseett (Tubi), Paul Dale (BBFC), Sannuta Raghu (Scroll AI Lab)

Why attend? AI is already helping media companies automate work and create in new ways, though its biggest impact is still ahead. This session will cut through the noise to show where AI is delivering value today, and what’s coming next.

And don’t forget what happens outside the conference rooms. The IBC 2025 Party & Event List by Janet Greco (Broadcast Projects) is your guide to the real networking after hours.

Let’s meet?

I’ll be at IBC for 3 main reasons:

1️⃣ Share live updates

I’ll post tech highlights from the show floor for The Streaming Lab community. Follow me on LinkedIn and subscribe to the newsletter to stay in the loop.

2️⃣ Showcase MENA streaming

Last week, I shared an updated overview of the MENA streaming landscape. At IBC, I’ll share full insights directly with media tech professionals.

3️⃣ Launch the LinkedIn Bootcamp

A new program designed for media tech companies, helping sales teams boost visibility, build trust, and drive real results.

📩 DM me on LinkedIn if you’d like to get more information or connect during IBC.

📍 Most of the time, you’ll find me at the White Peaks Solutions booth (2.C41b), inside the French Pavilion, organized by the CCI (Paris Île-de-France Chamber of Commerce). Come by and say hi. You’ll also see how they help broadcasters and content owners with their tech, and hear some interesting client stories.

I’ll also be around at the main events, starting Thursday with Streaming Made Easy Live, and the CCI Networking Event later that evening.

And if you have tips or insights to share, just hit reply to this email. Yes, I read them all 😉

See you in Amsterdam!

Wishing everyone a great week! See you online this Friday for a new edition of my Streaming in Short.

More content from my Monday MENA Insights:

September is back-to-school season, not only for kids but also for streaming professionals. It’s the perfect moment to step back and see what’s been happening in MENA streaming since the start of the year.

My full report about STREAMING in MENA is coming soon, and this article gives you a first overview of the 60 local platforms active in the region.

If you work with in media tech or content, this list could also be a great starting point to find new partners at the many events coming up, like IBC in Amsterdam (Hope to see you there 😉).

👉 This article is part of The Lab, my premium membership. Join to unlock the full list and stay ahead in MENA streaming.

Read on to learn about:

1. What’s new in MENA streaming: From sports and microstreaming to new partnerships.

2. Meet the 60 local streamers: Covering general entertainment, sports, and niche platforms.

3. So What? Is the local ecosystem pushing the industry forward, or are most platforms struggling to survive?

What’s new in MENA streaming

This summer, football was the big story in MENA streaming, but a lot more happened. Since January, we’ve seen new services launch, some rebrand, and others shut down.

Let’s start with sports.

The launch of Thmanyah, the new home of Saudi Football, has made football rights more fragmented than ever. More details in my article from last week:

At the same time, Shahid lost Saudi Pro League but gained one of Europe’s top five: the Bundesliga.

Global platforms are also moving fast. Prime Video got the international rights for the NBA, with games streaming as part of the Prime Video subscription from October.

Apple TV+ is also pushing sports with its MLS Season Pass, available worldwide, including in MENA.

An interesting new player is TX7 from Abu Dhabi. It offers premium regional competitions like the Egyptian Premier League, the Arab Handball Cup, and UAE MMA Championship.

On the entertainment side, Kuwait is buzzing in 2025.

ROD (Rai On Demand) launched as a digital extension of Alrai TV.

Another new service, Bahry, is the first Arabic streaming platform fully focused on the ocean, boating, and maritime life.

Another big trend is micro-drama (or microstreaming). In Saudi Arabia and the UAE, these apps now dominate the download charts, with most of them coming from Asia.

Local players are also moving in. Shahid added a “shorts” feature to its app with highlights from Arabic TV series and football games. This could grow into licensed micro-dramas or even Shahid originals.

A new service called Tesliya also launched recently with micro-dramas at part of its content strategy.

Partnerships are reshaping the market too.

Yango Play signed a bundle deal with Crunchyroll, adding anime directly into its subscription.

TOD partnered with Crunchyroll as well, bringing hit titles like Jujutsu Kaisen and One Punch Man to the platform.

In Iraq, both 1001 and Al-Manasa signed multiple partnerships this summer with Shahid, OSN, Yango Play, Roya Media Group, Almentor, and Wide.

And in Saudi Arabia, MBCNOW keeps growing as a super-aggregator, thanks to a first bundle with Netflix.

Not all platforms made it. Go Play Market (from Ooredoo) and Weyyak (from Zee Entertainment) both shut down this year, showing how competitive the market has become.

Next, I’ll share the full list of local streaming platforms that are active today in MENA

Meet the 60 local streamers

Three years ago, I started a small chart with about 15 local platforms. With help from some platforms, tech, content providers and advertising agencies, it’s grown into a full map of the MENA landscape.

As you can see, more local services are launching, testing new models, and serving specific audiences.

Here’s the updated list of local, homegrown platforms in alphabetical order, with a link to access their desktop web homepage. (A few services have recently closed; I’ve marked them). 👇

Read more

Saudi football started to change in 2022, when Saudi Arabia’s Public Investment Fund (PIF) took control of 4 big clubs: Al Nassr, Al Hilal, Al Ittihad, and Al Ahli.

The goal? Turn the league into one of the world’s top 10.

In December 2022, Cristiano Ronaldo joined Al Nassr and gave the league global attention. By summer 2023, more stars arrived: Benzema, Kanté, Neymar, and others.

SSC (Saudi Sports Company) and Shahid (MBC Group) had the rights since 2021. But now there’s a new player: Thmanyah, a Saudi podcast company backed by SRMG, is moving into live sports.

Their first big test? Build a streaming platform from scratch to show 4 competitions: the Saudi Super Cup, Roshn Saudi League, King’s Cup, and Yelo League. The platform went live just in time for the new season, which kicks off this Thursday.

In this article, I’ll review Thmanyah’s new platform: how it works, its features, streaming quality, community tools, content lineup, and subscription model. And of course, my take: what works, and what’s missing.

Read on to learn about:

1. Thmanyah platform: How the app works, the main sports features, streaming quality, and fan tools.

2. Content & monetization: The content Thmanyah offers, and how the subscription works.

3. So What? My view on what works and what Thmanyah needs to improve.

Read more

In early May, Netflix announced new features for its iOS app, including a new way to search with generative AI.

The idea? Let users find shows and movies by typing natural, conversational phrases like “I want something funny and upbeat.”

But is this kind of AI search just a nice-to-have, or a must-have for streaming services?

First, I’ll walk you through the main types of search available on streaming platforms. Then, we’ll take a closer look at Netflix beta search 👇

Read on to learn about:

1. How we search today: the main ways to find shows and movies on streaming platforms

2. Netflix new AI search: what it is, how it works, and what’s available in the beta

3. So What? Could AI-powered search be the next big thing in streaming?

How we search today

Streaming services have been trying to make it easier for us to find something to watch for years. As their libraries keep getting bigger, they’ve had to come up with new ways to help people search the right show or movie.

Here are the main types of search you’ll see today:

Basic search: Type in a title, actor, or director and get matching results. Some services add autocomplete to suggest titles, genres, or people as you type.

Advanced filters: Narrow results by genre, release year, language, content type, or maturity rating.

People search: Browse everything featuring a specific actor, director, or even a composer or writer.

Contextual search: Find content by mood or theme (feel-good, based on a true story) or by occasion (Ramadan specials, Halloween movies).

Viewing-context search: Filter by duration, availability, or “expiring soon.”

Cross-platform search: Search across multiple apps at once (e.g., Apple TV, Google TV, Roku).

The next evolution is coming: AI-powered search.

Instead of just matching keywords, AI can:

Read more

Since Cannes Lions last month, we’ve seen several partnerships between broadcasters and streamers. First came TF1 with Netflix in France. Then Prime Video with France Télévisions. Then Disney+ with ITV in the UK.

And now, it’s MENA’s turn. MBC Group, the biggest media company in the region, has announced a new partnership with Netflix.

At the center of this deal is MBCNOW, a TV box MBC launched in Saudi Arabia last year to bring everything together as a super aggregator.

In this article, I’ll look at what’s really behind this deal, what you won’t find in the press release. (The new packages were officially announced today!)

Is this a one-of-a-kind move for MENA? And could it change the future of streaming and TV in the region?

Let’s find out 👇

Read on to learn about:

1. MBCNOW explained: what it is, how it works, and what you get with the box

2. The MBC x Netflix deal: what has just been announced and why it matters

3. So What? The impact on the Saudi and MENA streaming ecosystems

MBCNOW explained: what it is, how it works, and what you get with the box

First, a quick reminder about MBC Group:

It’s the biggest media company in the Middle East and North Africa. The group started in London in 1991 with MBC1 and moved its headquarters to Riyadh in 2022.

Today, MBC operates over 13 TV channels and 3 radio stations, including MBC1, MBC2, MBC3, MBC MASR and MBC IRAQ. It also owns Shahid, the leading Arabic streaming service and MBC Studios, which produces original shows and films.

In February last year, MBC launched MBCNOW, an Android TV box designed to bring everything together.

The idea was simple: one device where you can watch MBC channels, sports, Shahid, and, over time, all the big streaming services in one place.

Why does this matter?

Because in MENA there are more than 100 platforms, both local and global, and no single place that brings them all together. Just look at how many have launched between 2008 and 2025 ↓

Read more

Two big news stories caught my eye this month. At first, they seem totally different:

🎬 A Saudi comedy called “Alzarfa” just beat Hollywood movies at the box office.

⚽️ Thmanyah, a Saudi media company, is now running Saudi football streaming.

One is about movies, the other about football. But both are from Saudi companies, making content for Saudi people.

So here’s my question:

Is there a secret recipe here? Can this local success be repeated in other countries, or even worldwide?

In this article, I’ll break down what Telfaz11 and Thmanyah are doing right, and why it matters for potential partners who want to better engage audiences in Saudi Arabia.

Read on to learn about:

1. Telfaz11: The creative studio behind some of Saudi most popular movies and shows

2. Thmanyah: The platform that’s turning Saudi stories into podcasts, documentaries, and now… sports

3. So What? Why hyperlocal content is working in Saudi

Read more

I often group the MENA streaming market into two main categories: global players and local platforms.

At first, it’s easy to see Viu as a global player. It started in Hong Kong in 2015 and expanded to MENA in 2017.

But the more time I spend on the platform, the more I see it differently.

Here’s why I believe Viu has truly become a local platform in MENA 👇

Read on to learn about:

1. Viu’s global expansion: From Asia to MENA and new markets around the world.

2. Winning with localization: How Viu adapts its content for MENA audiences.

3. So What? Lessons from Viu that others should pay attention to.

Viu’s global expansion

Viu started in 2015 in Hong Kong, launched by PCCW, a major media and telecom company in Asia.

Since then, Viu has grown far beyond its home market.

Viu streaming service is available to consumers through a hybrid model, with an ad-supported free tier and a premium subscription tier.

In addition to premium original productions under the brand “Viu Original”, Viu's unique content offering consists of co-produced Turkish and Arabic content as well as a wide library of K-drama, dubbed in Arabic.

In June 2023, PCCW and CANAL+ formed a partnership to accelerate the growth of Viu, making CANAL+ a strategic investor in Viu.

The reach of Viu is already impressive with over 15.5 million subscribers and counting.

After launching in Hong Kong in 2015, they expanded into Singapore, India, Malaysia, Indonesia, Philippines and Thailand before entering the MENA region and South Africa in 2018.

Full details available here.

Now, let’s zoom in on MENA.

Viu entered the region in 2018 and set up an office in Dubai. Since then, the streaming service has focused on hiring people who know the local market well and understand what viewers in this region want.

From Dubai, Viu manages 16 markets in MENA, with special attention on big markets like UAE, Saudi Arabia and Egypt.

Initially, Viu offered content similar to what was available in other countries. However, over time, they shifted their approach by introducing more co-produced and original Arabic shows, along with expanded language options to better cater to local audiences.

If you check out Viu in the UAE, for example, you’ll find a mix of Arabic series, Korean dramas, Turkish shows, Asian content, and Tagalog series. This variety of both Asian and Arabic content makes Viu stand out with local audiences.

Next, let’s see how this strategy on local needs is helping Viu grow in MENA.

Winning with localization

What does “localization” really mean for a streaming service?

For most platforms, the first step is the language. Usually, that means adding Arabic subtitles and/or dubbing to international shows. It sounds basic but not all the platforms in the region localize their strategy this way.

Platforms can take it further by acquiring popular formats and creating local versions with regional production partners.

The top level is producing original content just for MENA: stories made for local audiences, often by local creators.

Not every platform can invest in all three levels. It takes time, money, strong regional network, and a real understanding of the market.

What stands out about Viu is that they’re active at every stage:

• A large share of their library has Arabic subtitles or dubbing.

• They regularly license and co-produce global hits from Turkish and Arabic content to Korean dramas, and make them accessible for MENA audiences

• They also create original Arabic shows that reflect local culture.

Take their new reality show, The Big Bang Birthday, for example.

The show follows 4 popular content creators as they plan a birthday celebration for Hadeel Marei, a well-known Egyptian digital creator. The cast includes Amy Roko (Saudi Arabia), Dana Halabi (Syria/UAE), Jara (Saudi Arabia’s first female rapper), and Yussra Youssif (Sudan), all bringing their own unique backgrounds and voices.

More reality shows on Viu:

Another example is “We Wed” featuring social media stars Shero and Shahd, who have a combined 5M followers across their channels, in an exclusive episode from Viu Originals. Users can experience every moment of their special wedding day, filled with surprises, surrounded by family and close friends.

Those are a clear example of Viu investing in stories and personalities that really connect with viewers in Saudi, the UAE, and across the Arab World.

Localization in MENA isn’t just about content, it’s also about partnerships.

Each country in the region is different, especially when it comes to how people pay for streaming services. For example, credit card use isn’t as common everywhere. That’s why direct carrier billing (DCB), where users can pay through their mobile operator, and bundles are key for success in MENA.

Viu understood this early and now works with more than 20 telecom partners in the region, including du, e&, STC, Ooredoo, Orange, Inwi, Omantel, and others.

Here are a couple of recent partners:

Viu x Omantel: With the “Viu Gift Box”, new post-paid Omantel customers in Oman can upgrade to Viu Premium and enjoy free streaming data as part of their mobile plan.

Viu x stc tv: This partnership allows stc tv to offer Viu’s Turkish and Arabic series to their subscribers in KSA and GCC, while Viu adds top Arabic films from stc tv to its platform.

These partnerships help Viu reach more people across the MENA region.

So What?

Now that we’ve talked about Viu’s growth and focus on localization, let’s see what results they’re getting.

First, some numbers. In 2024, Viu was one of the top 3 most-downloaded streaming apps in MENA, according to Sensor Tower. That’s impressive!

Let’s look at Ramadan, which is the most important time of year for streaming in the region. During Ramadan this year, Viu’s viewership more than doubled compared to last year.

Their Egyptian series, Fahd El Batal, was the number one show across all Viu markets in MENA during March. Other popular titles like Nasamat Ayloul from the Levant and the Egyptian original Al Halanji were also big hits.

And this is just their Arabic series. Viu is unique because it serves both Arabic speakers and the large Asian community living in MENA.

For example, Viu was one of the first platforms to bring Korean content to MENA and make it available in Arabic. They now have the biggest library of Korean shows dubbed in Arabic in the region.

So, what’s the secret?

Viu’s success isn’t just about good content. It’s about making everything local: content, partnerships, marketing, etc. This helps Viu grow its audience, keep viewers engaged, and build a loyal community.

Another sign they’re doing well: CANAL+ invested $300 million in Viu, increasing their share in the company. This big investment from a global media company shows that Viu’s strategy is working, and people are noticing their growth in Asia and MENA.

For me, Viu’s success shows just how important localization is in streaming. That’s also why I wouldn’t be surprised to see Viu launch in more countries using the same strategy.

Wishing everyone a great week! See you online this Friday for a new edition of my Streaming in Short.

More content from my Monday MENA Insights:

When did you first hear about micro-dramas?

I’m guessing, not that long ago. For most of us, it’s still a new concept.

Today, I want to do a quick exercise:

Let’s see what’s really happening in MENA by looking at the top streaming apps in three key countries: UAE, Saudi Arabia, and Egypt.

Spoiler: the results might surprise you.

Read on to learn about:

1. Micro-streaming in MENA: A quick look at the format, and what’s happening across the region

2. Inside the top micro-streaming apps: A snapshot of ReelShort, DramaBox and GoodShort

3. So What? What you should do about it

Micro-streaming in MENA

If you’re new to micro-streaming, here’s a quick overview:

Micro-streaming apps are built around ultra-short episodes, usually around 1 minute each. A full season typically includes 60 to 100 episodes, made for fast, mobile-first viewing.

The format is designed to grab attention with vertical video, high drama, and cliffhangers every few seconds.

An important question for all of us: how do these apps make money?

Most follow a freemium model: watch a few episodes for free, then unlock more by watching ads, using coins (earned or bought), or subscribing.

What kind of stories can you watch? Fast-paced and emotional, mainly romance, fantasy, revenge, and thrillers. The goal is to keep you watching, one short episode at a time.

—

To understand how micro-streaming is growing in the MENA region, I analyzed the top streaming apps on the App Store and Google Play in UAE, Saudi Arabia, and Egypt, all on the same day.

Here’s what I found 👇

Read more

Two years ago, Ronaldo joined the Saudi club Al-Nassr. He might be leaving soon, but the Saudi Pro League has already changed forever.

It started with one star. Then came Benzema, Neymar, Kanté, Mané… and global TV deals followed: 170+ countries with DAZN, SonyLIV, Canal Goat, SPOTV, LA7, and more.

In MENA, SSC had the rights. Until now. The Saudi Pro League just signed a new partner: Thmanyah.

Who are they? What’s the deal? And what does it mean for SSC, Shahid, MBC Group, and for the football fans? 👇

Read on to learn about:

1. The deal: Which competitions are included, where the rights apply, how long the deal lasts, and what kind of rights Thmanyah now owns.

2. Thmanyah & SRMG: How a Saudi podcast company, backed by a major media group, is now stepping into live sports?

3. So What? What this means for SSC, Shahid and MBC Group, and how it could change sports streaming across MENA.

The deal

The announcement is still fresh, and details are limited. But thanks to a trusted source, I found a visual that explains the key parameters of the deal (in Arabic only ;) ↓

Read more

Hope you’ve recovered from the Alcaraz–Sinner game yesterday.

And what. a. game. As you know, I love stats:

• Carlos Alcaraz won again in a five-set classic: 4–6, 6–7(4), 6–4, 7–6(3), 7–6(10).

• It became the longest final in Roland Garros Open Era history: 5h29m.

• He saved 3 match points: the first to do so in a Grand Slam final since Djokovic in 2019.

But something else caught my attention last week: TOD, the streaming service of beIN Media Group, quietly launched 2 new pricing tiers.

It’s a big update in their pricing strategy, and I’ll break it down for you.

I’ll also look at what Shahid, STARZPLAY, DAZN and Smashi TV are doing, and ask a simple question I’ve been thinking about:

Is SVOD really the best streaming model for sports?

Read on to learn about:

1. TOD’s new plans: What changed, what’s included, and what it means for sports fans.

2. What other platforms are doing: How Shahid, STARZPLAY, DAZN, and Smashi TV price their sports content, and what we can learn from them.

3. So What? Is SVOD still the right model for sports?

Read more

The way we watch sports is changing, so why not change how we play them too?

Some competitions are already trying new formats. One of them is Kings League.

It started in 2022, created by former Barcelona player Gerard Piqué and famous streamer Ibai Llanos. Since then, it has grown fast, with new leagues in the Americas, Italy, France, Germany, and Brazil.

Now, it’s coming to the MENA region. Kings League MENA was just announced and will launch later in 2025.

But what is Kings League? And why does it matter for sports in MENA?

Read on to learn about:

1. What is Kings League? How this new football format mixes sports with fun rules

2. Introducing Kings League MENA: Get the key details on the MENA launch

3. So What? How it could impact sports and streaming in MENA.

This edition is supported by RightsHero, the AI based technology for Anti-Piracy, Content Protection & Cybersecurity.

Piracy is getting smarter. So the tools to stop it have to evolve too.

RightsHero processes over 12,000 hours of content every day, and takes down more than 500,000 pirated videos each month in MENA alone.

Here’s why streaming platforms are choosing RightsHero:

✅ 360° protection: A comprehensive anti-piracy solution covering every type of content violation, no gaps, no compromises.

✅ Human + AI precision: AI and machine learning technology, combined with expert human oversight, ensure both accuracy and speed.

✅ Truly scalable: A flexible architecture built to grow with any campaign, large or small.

✅ Always on: Secure, cloud-native infrastructure running 24/7 on AWS, ready whenever needed.

Scalability is how RightsHero was built from day one. If you’re serious about protecting your content in MENA, it’s time to talk to them 👇

Want to learn more about RightsHero?

What is Kings League?

Here is the main rule of the Kings League, as described on their website:
”The Kings League is created by all of us. And that includes the way the game is played and the rules, with rules that fans have decided by popular vote on social media”

But let’s starts with the basics: where does the Kings League come from?

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Last week, one news caught my eye: VUZ, the immersive video platform that lets you go behind the scenes at red carpets and stadiums, just raised $12 million.

They want to grow in Saudi Arabia and the UAE, and expand to Africa, Asia, and the U.S.

But what does this funding really mean?

Read on to learn about:

1. What is VUZ? A closer look at the platform bringing fans behind the scenes

2. The $12M funding round: How VUZ plans to grow internationally?

3. So What? The challenges, the opportunities, and some bold ideas

This newsletter is supported by Mediagenix, a global leader in smart content solutions.

With headquarters in Brussels, Mediagenix partners with over 200 media companies worldwide. In MENA, they help broadcasters like MBC Group, Al Jazeera Media Network and BeIN Media Group optimize their business operations.

Mediagenix has been busy in the Middle East this month, and for good reasons:

🇦🇪 The MENA and European teams were at CABSAT in Dubai, meeting with the local streaming ecosystem.

🤝 They announced a new partnership with White Peaks Solutions and Sharjah Broadcasting Authority to bring better content personalization to their streaming platform Maraya.

🏆 And they won the BroadcastPro Middle East Award for Scheduling Automation, recognized as the best in content scheduling and monetization.

Want to learn more about Mediagenix? Download their whitepaper and discover how they can:

• Boost scheduling efficiency by up to 80% with AI automation

• Automate FAST and pop-up channels

• Manage live content and ads with real-time flexibility

• Schedule all your content with one powerful system

🙌 Download it now!

What is VUZ?

VUZ is a video platform where you watch content in a different way. It uses 360-degree videos to put you in the middle of the action.

You can turn your phone or swipe the screen to look around. Imagine standing on the field during a football game, in the ring during a fight, or behind the stage at a concert. That’s what VUZ is trying to offer.

The app works on mobile, the web, smart TVs, and it’s even available on VR headsets like the Apple Vision Pro. In fact, VUZ was one of the first apps to launch on it, a big win for a MENA startup.

The platform already has over 15 million users and has also passed 3 billion views in total.

When you open VUZ, you land on a homepage full of carousels, like a traditional streaming media platform. The first one is the “Channel List”, premium content coming from partnerships with sports leagues, events, and even brands.

In the UAE, the platform shows up to 192 channels. Here are some of the most followed channels:

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Over the past few years, we’ve seen lots of content partnerships in MENA, some between local platforms, others with big international studios.

But this one looks different.

Yango Play just teamed up with Crunchyroll, and it’s not your usual licensing deal. This is a full bundle! A selection of anime from Crunchyroll is now part of a Yango Play new subscription.

So… How does it work? What’s the price? What shows are included? And most importantly: why does it matter for the viewers?

Join the LAB 🧪 to unlock the full story 👇

Subscribe now

Read on to learn about:

1. What’s in the bundle? The pricing of the new Yango Play x Crunchyroll package, and how it appears across web, mobile, and CTV.

2. Inside the Crunchyroll content corner: A closer look at the selection with year of release, genres, and Arabic localization.

3. So What? Why this deal matters for anime fans in MENA, and for Yango Play, Crunchyroll, and the other streamers.

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CABSAT 2025 starts tomorrow, and if you’re coming to (very) sunny Dubai this week, this guide is for you.

I wasn’t there for the very first edition in 1993, but after attending more than 10 times, I’ve earned my badge as a regular 😉

In this guide, I’ll help you make the most of your time:

✅ A quick look at the main agenda

✅ The private events and parties you should know about

✅ Last-minute tips to connect with the right people, especially streamers

Here’s your guide to CABSAT 2025 👇

Read on to learn about:

1. CABSAT 2025: What’s on the agenda? A quick tour of the official agenda and top sessions to attend

2. The unofficial CABSAT: Private events, off-agenda summits, and where real conversations happen

3. So What? How to connect with streamers and make the most of your time at CABSAT

This edition is supported by RightsHero, the AI based technology for Anti-Piracy, Content Protection & Cybersecurity.

If you work in MENA streaming, you already know: The biggest threat isn’t churn. It’s not discovery. It’s not even payment or internet access.

It’s piracy, and everyone in the industry will tell you the same.

There are great initiatives to understand the impact of piracy in the region, like the Iraq Without Piracy summit I attended in Baghdad earlier this year.

But I still hear it too often: “There’s nothing we can do.”

There are real solutions, and experts dedicated to this fight.

RightsHero is one of them, working with local broadcasters, streaming platforms, media companies and festivals across MENA. Some of the tools they use:

• Search Engines (De-Listing)

• Tubes & UGC Web Enforcement

• App Stores Protections

• Live Streaming Disruption

• Illegal Ads Takedown

• Illegal IPTV Devices and Apps Disruption

• Pirated Content Monitoring & Analytics

• P2P Content Monitoring & Analytics

• Cyber Security Services & Auditing

• Forensic & Technical Investigation

The results speak for themselves:

✅ 3M+ pirated videos detected in 2024

✅ 94% success rate in content removal

✅ 1.1M+ takedowns on Telegram, Dailymotion, OK.ru

✅ Trusted by Rotana, Shahid, stc tv, Viu, Yango Play, and more

One of the best ways to fight piracy? Keep talking about it, and showing what it really looks like.

Here’s a short video I recommend from RightsHero: “The daily reality for media companies facing piracy.” Let me know what you think!

CABSAT 2025: What’s on the agenda?

If you’ve never heard of CABSAT before, the name might sound old-school, and that’s because it is. It started back when CABLE and SATELLITE ruled the media world.

But times have changed.

Today, CABSAT is much more than that. The event now calls itself: “Pioneering the Future of Media and Entertainment in MEASA.”

If you want to understand what CABSAT is really about, just look at two things: The conference program and the exhibitor list

🎤 Let’s start with the conferences.

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TOD, beIN Media Group’s streaming platform, just got an upgrade.

New look, new features, new content strategy. Let’s break it down 👇

This newsletter is supported by JAY, the leading provider of shoppable and bonus content for streaming services.

Across MENA, most sports platforms today let you watch games live or on-demand.
- Shahid with the Saudi Pro League
- STARZPLAY with Serie A
- ADtv with the UAE Pro League

Some streaming services go further: TOD, for example, offers a "Fan Mode" for the Premier League or LaLiga with highlights, lineups, team stats, and top players as you watch.

But the next wave of Sports streaming? It’s all about interactivity. Picture this:

➡️ You tap the screen and see profile info about the player with the ball.

➡️ You click to buy his jersey, shorts, or socks, while watching the game.

I believe MENA is perfectly positioned to become a leading market for shoppable content. That’s why I teamed up with JAY to create a free content snapshot. Inside, you’ll find:

✅ An overview of the MENA streaming market

✅ A use case from RTL+ and Joyn in Europe

✅ An interview with JAY CEO Peter Effenberg

✅ The benefits of in-stream, interactive experiences

DOWNLOAD IT HERE!

Read on to learn about:

1. Meet TOD: An overview on beIN Media Group streaming platform

2. What’s new: A closer look at TOD latest platform update

3. So What? Why this update matters

Read more

This month, we saw a small drop in FAST channels across the region, down 5% overall. Four platforms now have fewer channels than they did at the start of the month: STARZON, Weyyak, DAZN, and TCL Channel.

Why does this matter? I’ll break it down for you.

This is the latest edition of my FAST in MENA series, the only place where you can track all FAST channels and platforms across the Middle East & North Africa.

Streaming platforms covered: STARZ ON, Shahid, Roya TV, Samsung TV Plus, El Shasha, Weyyak, Awaan, Rotana, ADtv, Maraya, DAZN, and TCL Channel.

This newsletter is supported by Mediagenix, a global leader in smart content solutions.

With headquarters in Brussels, Mediagenix partners with over 200 media companies worldwide. In MENA, they help broadcasters like MBC Group, Al Jazeera Media Network and BeIN Media Group optimize their business operations.

Shahid, the leading Arabic streaming platform, recently selected Mediagenix On-Demand, their new solution for content scheduling, management and performance, built for multiplatform audience engagement and AI-driven scheduling automation.

The solution is gaining traction in the region and has been nominated for multiple BroadcastPro ME Manufacturer Awards at CABSAT 2025.

👉 Want to learn more about it? Download their whitepaper!

Inside, you’ll learn how to:

✅ Boost scheduling efficiency by up to 80% with AI automation

✅ Automate FAST and pop-up channels

✅ Manage live content and ads with real-time flexibility

✅ Schedule all your content with one powerful system

DOWNLOAD IT NOW!

Read on to learn about:

1. FAST updates: The latest changes across MENA platforms

2. New channels: See which channels launched this month

3. Spotlight channels: A closer look at FIFA+ on STARZ ON

FAST updates: The latest changes across MENA platforms.

Here’s my latest chart tracking FAST channel numbers on MENA platforms from January 2023 to April 2025.

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Before telling you how I created this visual, a quick story.

Over the past two weeks, I’ve been generating A LOT of Studio Ghibli–inspired images of my cats (don’t judge, they look magical). It was fun and easy, until yesterday.

That’s when my brother got back from Japan, and I thought: “Let’s turn his son into a Dragon Ball Z character.” Simple idea, right?

Except… I couldn’t. No matter how I asked, ChatGPT refused:

“I can't generate that image because it violates our content policies…”

That’s when I realized: some styles are off-limits. So I asked myself:

Why can I create Ghibli-style art but not Dragon Ball Z? What other IPs are “protected” or “at risk”?

In this article, I put AI and ChatGPT to the test: cloning the look of several major TV IPs to understand where the boundaries are.

Then, I want to answer why these limits exist, and what they could mean for the future of streaming media and content creation.

Let’s go ↓

The program

1. Which TV IPs can AI easily replicate, and which ones are off-limits?

2. What’s behind these differences?

3. Why it matters for users, content providers and streaming services?

And… Action!

Which TV IPs can AI easily replicate, and which ones are off-limits?

I'm running these tests using the latest version of OpenAI: ChatGPT 4o. I’m also a ChatGPT Plus subscriber. For consistency, I used the same exact prompt for each test, simply adding in the name of the IP:

“Transform this image into a […] version. Keep the original pose, facial expression, outfit, and background, but reimagine everything in the […] aesthetic.”

The base image? A photo I took during a bike trip to Hatta in UAE, back in 2021. Same pose, same background, across all tests.

What was I trying to figure out?

• Which IPs are “easier” for AI to replicate?

• Which ones hit a wall, and why?

• What can that tell us about how AI manages visual IPs?

I selected a mix of famous and recent pop culture icons, all from the world of TV and animation. Not to debate whether AI should replicate copyrighted styles, but simply to explore which ones it can (or can’t).

Here’s the lineup: Akira, Aladdin, Batman, Bridgerton, Dragon Ball Z, Frozen, Harry Potter, Moana, Pokémon, Rick & Morty, South Park, Stranger Things, Super Mario, The Last of Us, The Simpsons.

Do you know some of them? ;)

The Results:

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Big update from the MENA media world!

MBC Group recently shared its full-year results for 2024, just days before announcing a major leadership change:

Sam Barnett will step down as CEO of MBC Group on April 30, and take over as CEO of PPF's TV Group CME.

Taking over the role is Mike Sneesby, former CEO of Nine (Australia’s largest locally owned media company) and founder of Stan, one of the country’s top streaming platforms.

Like every quarter, I have reviewed the numbers for Shahid, MBC’s streaming platform, and more importantly, what they tell us about where they are heading next 👇

Today’s program

1. MBC Group & Shahid: Quick overview

2. Key highlights from FY 2024 earnings

3. What’s behind the numbers?

And… Action!

MBC Group & Shahid: Quick overview

Before we look at the latest numbers, here’s a quick reminder about MBC Group.

MBC is the top entertainment company for Arabic-speaking audiences. Every week, more than 150 million people watch something on MBC ecosystem. The group reaches around 90% of households in the MENA region.

They run the first SVOD streaming service and the 1st AVOD service in Saudi Arabia and in the MENA region.

And they have been doing this for a long time. MBC has been creating Arabic shows and content for over 30 years.

Here is a quick look at their streaming journey:

2008: Launched Shahid, one of the first streaming platforms in MENA

2020: Relaunched Shahid VIP with a stronger offer

2023: Added FAST channels to the AVOD platform

2024: As of September, Shahid is #1 in MENA for both SVOD (27% market share) and AVOD (46% market share)

The region still has huge room to grow. Only 10% of households in MENA pay for a streaming service. In the U.S., it’s over 80%.

Now let’s take a look at the financial highlights, and as always, I’ll focus on Shahid’s numbers: subscribers, monthly users, and revenue/losses.

Key highlights from FY 2024 earnings

Let’s start with a first chart showing how Shahid’s SVOD subscribers and AVOD active monthly users have evolved over time 👇

Read more

Instead, they're backing a local champion.

And as of yesterday... Discovery+ content is now live on OSN+ 😎

More streaming media stories here 👇