Netflix is expanding its content and production strategy across Asia, according to remarks by Minyoung Kim, Vice President of Content for the Asia-Pacific region (excluding India), during the company’s APAC showcase in Tokyo. The platform is increasing investment in original programming, adding new countries to its zombie slate, and continuing to test approaches to live sports coverage.
South Korea remains a major focus. Netflix’s 2023 commitment to invest $2.5 billion over four years is still in progress, and Kim confirmed that spending is aligned with or above expectations. Programs including Squid Game have anchored the platform’s position in global markets, with Season 3 of the series scheduled for release on June 27. Filmed in tandem with Season 2, the new episodes continue the story that drew high viewership and sustained global attention.
Alongside original productions, Netflix maintains licensing agreements with Korean broadcasters such as JTBC and SBS, as well as conglomerate CJ ENM. Despite CJ ENM’s ownership of a competing service, content sales between the companies have continued. Kim said that occasional overlap in acquisition targets sometimes prevents Netflix from securing certain titles but emphasized that relationships with other studios and production firms provide a consistent pipeline.
Outside South Korea, Netflix is increasing its budget across the region. Kim pointed to strong demand for local-language stories in countries like Japan and Korea, where domestic programming forms the majority of viewer engagement. She also noted that Netflix’s reach in Asia remains limited relative to its global footprint. Current viewer share across the region is under 10 percent.
Planning for future projects relies heavily on both internal data and local partnerships. Kim and her team analyze viewer behavior over time to identify gaps and determine the number of new productions needed. Creative development typically involves regional producers who pitch projects with Netflix’s support.
One challenge identified by Kim is the fragmented scale of Asia’s entertainment industries. She explained that while individual countries often produce high-quality work, their industries lack the infrastructure to operate at a consistent global level on their own. Connecting creative and production networks across borders is part of the approach.
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Thailand, for example, is recognized for its post-production skills, but there are few visual effects companies that meet larger-scale demands. Kim described this as a cycle: limited opportunities for large projects have historically discouraged development in advanced VFX capabilities. With Netflix increasing its presence in the market, she expects that production capacity will begin to shift.
In Japan, Kim identified the country’s deep catalog of intellectual property as a key advantage. Korean companies, on the other hand, provide a strong base in visual effects. Netflix often combines talent from multiple countries for specific projects. For demanding effects work, Korean vendors are sometimes brought in to support productions in Southeast Asia.
Cross-border collaboration was central to the production of Romantics Anonymous, an upcoming Japanese-language remake of a French romantic comedy. The series was developed by Korea’s Yong Film and includes behind-the-scenes talent from both Korea and Japan.
Live sports remain another area under active development. Netflix has hosted select events in the U.S., including NFL holiday matchups and boxing showcases such as the Jake Paul vs. Mike Tyson fight. Kim said that any sports programming in Asia would likely follow a similar model focused on single events rather than full-season coverage.
She pointed to the women’s match between Katie Taylor and Amanda Serrano, which preceded the Tyson-Paul fight, as a moment that drew unexpected attention. Viewership and discussion around that fight increased visibility for women’s boxing, and Kim described it as a moment that could influence future content planning.
The platform is also introducing its first zombie-themed projects in Thailand and Indonesia, following the success of Korean titles like Kingdom and All of Us Are Dead. In Thailand, director Tent Kulp Kaljareuk is leading the production of Ziam, while Indonesian filmmaker Kimo Stamboel is behind Elixir. Both titles are scheduled for release later this year.
To prepare for these productions, teams in both countries consulted with Korean creators who previously worked on Kingdom. Kim said that while the Korean team provided technical support, the creative interpretation remained local. She emphasized the importance of regional identity in storytelling and said that each project includes themes specific to its home country.
Kim recalled how international reactions helped define the style of Korean zombie films in hindsight. Audiences outside of Korea began identifying traits that locals had not initially recognized. She said she is paying close attention to how viewers will interpret the new projects from Thailand and Indonesia.
