JAMCO Online International Symposium

In a previous contribution to this forum, the author considered the on-going operating issues among TV stations in Thailand (Bilmanoch, 2014). Here, the accelerating changes in the Thai mass media, associated with evolving government regulation, altered industrial contexts and technological advancement in the transition to complete digitization, over the last decade, are summarized. The adaptive strategies adopted by TV stations to fulfil roles and remain viable are discussed and prospects for the industry in the near future are briefly outlined.

Despite all the widely recognized changes, mentioned above, as well as unique pressures imposed by the COVID-19 pandemic (Bilmanoch , 2022), TV has remained a prime information source for people of all ages in Thailand (Common, 2018; Tortermvasana, 2023). With a current total population of about 72 million (Worldometer, 2024), previous studies have reported that over 98% of Thai households have TV sets (Common, 2018) with Digital Terrestrial TV (DTT) reaching 95% of the population (Sportcal, 2019). In 2018, 88.6 % of the television audience watched terrestrial TV, while 11.4 % watched cable and satellite (Sportcal, 2019).

For a summary of the types of TV available in Thailand see Figure 1.



To give readers some background, before discussing the present situation and outlook for selected organizations, a brief summary of the general influences, major events and changes over the last decade is provided below.

From 2010 – 2014 the National Broadcasting and Telecommunication Commission (NBTC) of Thailand undertook planning with scheduling and issued guidelines for a switch to the digital system and phasing out of the analog TV signal. The overall process consisted of four phases: 1. Digital terrestrial tv broadcasting (DTTB) policy development; 2. Licensing policy and regulation; 3. Organizing auctions and tenders; and 4. Digital switch-over (DSO) communications and supervision (ITU, 2015). This DSO process has been described as disruptive, involving total industry restructuring (Common, 2018). The major benefit of the digital system is that it enables mobile broadband providers to expand coverage (GSMA, 2017); this is an important consideration in Thailand, where internet access outside major urban areas is limited (Bilmanoch, 2014).

Prior to 2014 there were six major terrestrial TV stations (for details see Bilmanoch, 2014). With legislative and regulatory changes (Lin and Oranop, 2016; NBTC, 2020), in January 2014, successful bidders for 24 digital TV licenses were announced; three of these stations were aimed at children, 7 emphasized news and the rest featured variety, in both SD and HD (Common, 2018). Some of these new stations were launched in April 2014. Together with the three public broadcasting channels this meant a total of 27 channels were available in addition to the cable, satellite and IPTV options. Current figures on numbers of channels and companies or providers vary, although, it is clear that about 100 channels are broadcasting and many companies are involved, directly or indirectly, in a complex and very competitive situation.

This dramatic increase in terrestrial channels in a crowded national market, combined with declining TV advertizing revenue and reduced consumer spending, as well as audience changes and increased use of mobile devices has led to closure of 7 stations over time (Tortermvasana, 2019; S & P Global, 2020). The remaining stations have adapted to generate new incomes and address audience fragmentation in many ways.

First, they have diversified and invested in new sources of revenue – for example, by producing and selling more popular drama series, by co-operating with partners to produce new films for the global market, and by acquiring rights to broadcast major sporting events (Sportcal, 2019). Second, to counter the on-going process of audience diversification or fragmentation, they have introduced programs that are more focused and relevant to young age groups, and have improved access to diverse online viewing platforms. Third, to retain existing audiences and attract new viewers, stations have invested in improving presentation of popular programs and allocated more resources to regular re-assessment of programs to ensure continuing quality, appeal and relevance (Nation Thailand, 2024). See Table 1.



The COVID-19 pandemic also imposed new pressures on TV broadcasters. The priority to reduce infection or transmission stimulated the use of audiovisual communication, instead of direct personal interaction, and also reinforced the need for an accessible source of information and entertainment, at home.

So, this analysis focuses on a major commercial TV station (Channel 3) and the Thai Public Broadcasting Service (Thai PBS), as examples of major players within the TV mass media sector in Thailand. The major objectives of this paper are:

(a) to discuss major priorities for the managers of Channel 3 at present and strategies to expand identified markets in the near future;
(b) to consider how the public broadcaster (Thai PBS) has developed to meet expanding demand for educational content and respond to increasing audience diversification; and
(c) to assess the current broadcasting situation in Thailand and prospects for the future.

Channel 3 (commercial) – strategies and challenges

Commercial broadcasting is primarily an accessible information service of current events, supported by advertizing, and consumption is optional. The emphasis is on appeal and relevance to a large number of consumers. This channel was one of the original analog TV channels (established 1970) and has previously claimed about 33% of the national terrestrial digital TV audience (UTI, 2015). In discussions with management late in 2023 it became apparent that their drive, to become Thailand’s leading business content broadcaster, involved several priorities, with associated strategies and challenges; these are summarized in Figure 2 and briefly discussed below.



In its first 3 years of digital TV operations Channel 3 ran at a loss, which resulted from a number of factors including increased numbers of TV channels, technology disruption and changes in viewer behavior. To survive, Channel 3 decided to create growth by becoming a ‘Content production giant’ with goals of generating income of 10 billion baht and a profit of 5 billion baht. The business plan developed included the sale of local content to foreign markets; for this, Channel 3 has brought drama content to show at the Asia TV Forum & Market (AFT), to introduce TV dramas for partners to buy and sell in future (Rinwong, 2022).

Since those initial decisions Channel 3 executives have reconsidered and expanded the strategic plan, to ensure that the Channel became profitable again. Channel 3 HD has now re-defined its main business objective – to become a Total Entertainment Company investing in associated businesses, which generate incomes in addition to the core TV business; the 5 categories of affiliated businesses are discussed below (MGR Online, 2022).

　
1. Studios and Production Facilities: As Channel 3 considers one of its main activities is to produce ‘drama’ content, it has set a budget of 2 billion baht to create approximately 30 stories (dramas) per year that appeal to varied target groups. BEC Studio is used as the main filming location, but Channel 3 has now created a ‘Virtual Studio’ where all scenes can be filmed inside; this reduces delays in filming due to bad weather, and also reduces the need to film abroad. Channel 3 HD has also created a Soundstage Studio, with a budget of over 400 million baht, to produce high-quality television drama series for broadcast on Channel 3 HD and other online platforms, both domestically and internationally.
　
2. Artist Management: With the new drama targets mentioned above, Channel 3 HD is always selecting new actors to star in new productions, resulting in a large number of actors under its management. Permitting these artists to work with organizations producing external content, allows Channel 3 to utilize these actor / actress assets to a greater extent. One example was having Yaya (Urassaya Sperbund) join the cast of the series ‘Tham Luang: Mission of Hope’ (Thai Cave Rescue); this helped generate significant additional income.
　
3. Music and Soundtrack Production: Channel 3’s subsidiary, Chandelier Music, creates soundtracks for the dramas produced; these soundtracks are copyrighted works of Channel 3 that can generate some income in their own right. In addition, Channel 3 decided to select some actors talented in singing and dancing and develop them as general entertainers to generate further income. The channel has already promoted Taew (Nathaphon Tameeruks) and Bow (Melda Susri) as singers, and there are plans to promote others in future.
　
4. Film Production and Cinemas: Channel 3 has been in the film business since 2022, collaborating with M Pictures Entertainment to co-produce Thai films in the ‘Big Movies Big Project 2022’. It started with ‘Buaphan Fun Yab’ starring Anne Thongprasom and Channel 3’s leading man, Kanawut Traipipattanapong. This was followed by collaboration with M Studio Co. Ltd., which produced films and owned several cinemas. In 2023, the film ‘Tee Yod’ starring Nadech Kugimiya was produced and released in domestic and international cinemas; this was successful, generating about 500 million baht. In 2024, Channel 3 and M Studio have jointly produced ‘Tee Yod 2’ and ‘Manaman’. Another 5 films are planned, along with expansion into global film markets (CH3Plus, 2024).
　
5. CH3 Applications and Participation: CH3 Plus is an improved version of the CH3 application launched in 2020. CH3 Plus incorporates various types of content such as news, dramas and movies into a collection of over 1,000 items for viewers to watch according to their needs. Under the ‘3 Plus Any where Any time Any Device’ concept, viewers can choose either ‘free viewing’ or a ‘subscription’ service, with a starting fee of 79 baht per month. Subscribers can access a number of privileges, such as: the right to watch Thai series reruns from midnight of the broadcast date; being able to watch international series dubbed in Thai; access to personal clips of each actor; access to Fan Meeting information; and participation in Star of the Month voting activity (Marketing Oops!, 2022). So this application is a participatory product that encourages viewer engagement and generates income for Channel 3 in the long term.

With the above-mentioned investments Channel 3 expects revenue growth in 2026 to exceed 8 billion baht, with 50% coming from TV media and 50% from new affiliated businesses; this will help Channel 3 move towards leadership in the digital TV business.

In addition to the broader, long-term company group strategies discussed above, there are three priorities more focused on Channel 3 activities – these are discussed below.

Reinforcing news programs

This priority was recognized and implemented because: (a) it was realized that most Thai viewers watched daily local and world news more than any other types of programs (Nielsen, 2022; Statista, 2024); and (b) as a result of COVID-19, the viewing behaviour of Thais has changed. It was logical to meet increased community expectations of quick access to useful news, to improve and strengthen news programs as a way of maximizing viewer ratings.

Accordingly, Channel 3 HD has adjusted its production and program presentation strategies, including program scheduling. In terms of presentation, Channel 3 has brought in viewers’ favorite presenters, such as Sorayuth Suthassanachinda, Kanchai, and Kitti Singhapat as news program hosts to create interest and encourage viewers to watch. As a result, all news programs have retained high ratings and generated a significant increase in advertizing revenue.

Program scheduling has also been expanded, with news programs presented in various time slots, from morning to late night. Morning programs include ‘Ruang Lao Chao Nee’, the daytime programs include ‘Hone Krasae’, and the evening programs include ‘Ruang Den Yen Nee’, as well as the late-night program ‘Khao 3 Mitti’. Two of these programs are particularly popular: ‘Ruang Lao Chao Nee ‘(Monday-Friday, 6:00-8:20 a.m.) and ‘Ruang Lao Sao-Athit ‘(Saturday-Sunday, 10:30-12:15 p.m.). Both programs are able to sell 40-50% more advertizing time. This increase in potential advertizing revenue, has led Channel 3 to extend the broadcast time of its news programs. For example, the early morning news has been extended by 25-30 minutes per day (with an advertizing rate of 120,000 baht/minute); the Saturday-Sunday program has been extended by 15 minutes per day (with an advertizing rate of 290,000 baht/minute).

Channel 3 has also added more news programs that have become popular, such as the midday news program (Monday-Friday from 11.20-12.35). This program helps to maintain daytime ratings and attracts further advertizing revenue; since the COVID-19 outbreak, Channel 3 news programs have been continuously popular (Orawan Marketeer, 2022).

Reaching out to share dramas on Netflix – an International strategyM

Channel 3 HD has a goal to be a leader in content in Thailand, applying the ‘ Single Content – Multiple Platform ‘ strategy to its entertainment business. It started by selling dramas to Netflix and, for over 3 years, 3 has aired (with Netflix) its newly produced dramas on the same day in every country in Southeast Asia.

In addition to this arrangement with Netflix, Channel 3 has also collaborated in varied overseas markets to continuously distribute its previous, current and upcoming dramas to other overseas streaming platforms. In 2023, a contract was signed with I.E. Entertainment Pte. Ltd., to act as the distributor of drama content licenses for Channel 3 and BEC Studio. I.E. Entertainment initially exported 4 dramas to overseas markets; these were ‘Love Destiny’ (aired in Taiwan via the PTS platform) as well as ‘Krong Kam’ (Repercussion), ‘Trab Fah Mee Tawan’ (My Forever Sunshine), and ‘Rati Luang’ (Love and Deception), which aired in over 20 countries in Africa via the Star Times video streaming platform. After this successful launch, I.E. Entertainment then sold the rights to newly produced dramas, such as ‘Prom Likhit’ (Love Destiny), ‘Matarada’ (To the Moon and Back), ‘Sib Lab Mor Rabad’ (Doctor Detective) and ‘Game Rak Torayot’ (The Betrayal), which has further expanded their penetration into Asian markets.

In global content licensing, there are 3 categories of license: simulcast, streaming platform licenses (where viewers can watch reruns within 2 hours after Channel 3 broadcasts), and finished drama licenses (where series may be rerun over longer periods). Channel 3 has now expanded its Thai drama licenses to every continent. For example, the mega drama ‘Mor Luang’(Royal Doctor) has been sold to more than 10 countries. With an international demand for quality entertainment clearly demonstrated, Channel 3 plans to sell almost all of the dramas it produces abroad, as it is considered that this market has good long-term growth prospects (Brand Buffet, 2023).

By September 2023, more than 6,200 hours of Channel 3’s dramas had been sold and broadcast on various platforms in Asia, Africa, and Latin America. On the basis of this good performance and the growing popularity of Thai dramas abroad, Channel 3 plans to expand its audience base to other countries to generate further income (TV Digital Watch, 2023).

Developing business schemes and strategies for broadcasting and internet in the future

Channel 3 has a strategic plan for its business operations over the next 5 years. The initial target for total revenue consists of 70% from TV advertizing, 25% from digital media and selling content to foreign markets, and 5% from other sources. This plan has resulted in expansion of other aspects of the business, such as hiring content production, co-production, event organization and product sales. In addition, as explained above the company has entered into contracts with business partners and other platforms to expand its market to many foreign countries (Nicharee, 2023).

Channel 3 has planned its future television business to become a leader in content production as a Total Entertainment Company, using a ‘Single Content Multiple Platform’ idea; this strategy involves a single investment in content production, that can generate income from multiple platforms or channels or other usage sources. In drama production, content is now planned under the Integrated Marketing Communication (IMC) model; this is a marketing communication strategy that generates income from the beginning of the project, by inviting product owners to co-operatively plan product advertizing throughout all the drama episodes.

For example, Doctor Foster is a popular series in many countries attracting high ratings, and many manufacturers want to use it to promote their brand products. So, Channel 3 has incorporated ‘Branded Content’ in the design, by presenting various products in scenes of the episodes where they are appropriate; many products can be easily linked to the lives of series characters, such as cars, household items, clothing, food, drinks, or various locations.

This marketing strategy is a new direction for Channel 3’s drama production. In addition, this model can help expand income in other areas, such as the music business, artist management, and employing product presenters for artists under the label (Onjira, 2023). Another example of an initiative to generate new income relates to sport.

Although utilization of the internet by Thai TV stations has been on-going for over a decade (Bilmanoch, 2014), the potential commercial benefits of acquiring the rights to broadcast sporting events have only been fully recognized in recent years (Sportcal, 2019).

Thai Public Broadcasting Service – strategies and challenges

Although long-established elsewhere, official public broadcasting only began in Thailand in 2008 (Mendel, 2010). The Thai Public Broadcasting Service was established under the ‘Public Broadcasting Service Act’ (2008). As the first non-profit public media organization in Thailand, Thai PBS is responsible for providing accurate, comprehensive news and educational services of public interest. The organization operates radio stations and claims about 4% of the terrestrial digital TV audience (ITU, 2015); although, it should be emphasized that progress in public broadcasting in Thailand is described as good compared with other Asian countries, where lack of political support and opposition by established media interests have inhibited implementation or growth of public broadcasting services (Mendel, 2010). For a summary of the development of Thai PBS and its responses to changes see Figure 3.



The fundamental roles of public broadcasting – listed as providing discussion for resolution of social issues, distribution of key practical information to the population and providing citizens with diversion and entertainment, by Mendel (2010) – differ from those of commercial broadcasters and are reflected in the current priorities and challenges faced by PBS (see below); however, these roles can also vary with evolving social conditions, audience expectations and other factors.

For example, the recent serious flooding in Thailand (Bangkok Post, 2024; CNA Live News, 2024) required an emphasis on day-to-day practical information on topics such as areas of inundation, personal safety, road closures, food, fuel and electricity supplies as well as emergency or evacuation services. Whereas, in a few months the emphases in community information may need to be on water restrictions, air pollution or wildfires.

Expanding demand for educational content and universal services

The increasing demand for educational material and services is to be expected with: increasing community educational levels; changed attitudes to educational methods and the importance of life-long learning; increasing expectations of parents for more educational infotainment for children; general community needs for increased skills; and greater literacy required to be able to fulfil technological tasks.

While the rapid recent advancements in communication technologies have impacted all human activities there have been profound re-assessments of learning processes and educational methods, as well as management to achieve tangible results in varied environments (Hansopha et al., 2020). The central role of modern media, such as television, facilitating general education and information transfer has been recognized for some years (Bandura, 2002). To ensure equitable access for all Thai children, NBTC has implemented a policy that promotes connection of each household to the public telecommunications network and access to educational programs universally, through Thai public television channels (NBTC, 2010).

The current situation requires production of more up-to-date programs with improved presentation and many more focused on specific age groups. Positive audience response is more important to a public broadcaster which must appear to be fulfilling an overall educational role, as a usable information source for all sectors (in age, social status) of society.

Prospects for ALTV

The COVID-19 crisis affected all sectors of the Thai educational system, with schools and institutions closed and many negative impacts on the education of young people. The NBTC recognized a responsibility to assist student learning during the pandemic and responded by authorizing PBS to launch a new special educational television channel (called ALTV) in 2020 (NBTC Office, 2020; Public Media Alliance, 2022).

This is a digital terrestrial television channel and is considered a secondary TV station of Thai PBS, broadcasting on Channel 4. ALTV aims to promote learning and integrate teaching and learning between home and school. To achieve this the station has collaborated with various educational networks, such as the Faculties of Education and of Communication Arts, Chulalongkorn University, the Parent Network, and the Children’s Program Producer Network, to jointly create quality content for youth education. ALTV strengthens the educational TV channel group by designing content and program schedules to combine subject groups with the development of children’s competencies. Content is defined by target groups: children and youth (43%), teachers (34%), and parents (23%); with program types divided into knowledge content, educational enhancement (40%), teacher demonstration (36%), family content, current situations, and others (24%). Daily programs are arranged according to the age of target groups; from very young children in the morning, to elementary school children, then high school children and teenagers, with programs for parents in the evening before the station closes. In the afternoons (Monday-Friday), time is designated for teachers, with a program of teaching demonstrations and sharing of experiences by teachers (Public Broadcasting Service of Thailand, 2022).

To meet diverse learning format demands and varied circumstances, the programs created are divided into 6 types as follows:

　
1. Active Learning News – where content, that is news, is presented so that it can be applied in learning and in daily life.
　
2. Homeroom Home Run – presents content about guidance in life and education, focusing on suggested educational guidelines and reflecting on each person’s life.
　
3. Smart Classroom – promotes new or specialized skills, emphasizing interactive communication so that learners can understand and master skills quickly.
　
4. Knowledge Farm – presents learning content through activities in various locations so that viewers gain experience from learning about different situations elsewhere and effectively integrate that knowledge into their lives at home, school, and community.
　
5. Tutor Hub – presents content and innovations to encourage all groups to experience teaching and learning in various subjects that interest them.
　
6. Knowledge Pool – presents content as a knowledge repository in various fields; where viewers gain knowledge and life experiences from exchanging and sharing knowledge.

In summary, ALTV is a television channel that emphasizes the development of collaborative learning among children, teachers, parents, and communities. It is a crucial part of a public system which encourages new modes of learning in a wide range of new venues; its on-going importance and relevance is clear, as it is meeting current and predicted needs according to developing circumstances.

Responses to audience diversification

The many factors influencing television audience behaviors, and their relationships to culture, have been documented for decades (Morley, 2003); however, diversity of interest or need and viewer responses have become particularly important in Thailand, with extensive audience diversification recorded in recent years (Common, 2018). The TV audience fragmentation is especially notable among young age groups, who are drifting away from TV. For example, Gen Z mostly watch all types of content on various online platforms.

Just as Channel 3 and all the other TV stations have done, the PBS has developed strategies to maintain and attract new viewers to their online platforms. These promotion measures include developing a function for television viewing services that is more convenient for viewers to use. The Thai PBS website has been restructured under the title ‘Thai PBS NOW, Click Every Day, Catch Up with Every Event’, which applies convenient technology and functions to viewing by all audience groups. This website is designed to act as a single gateway for the entire portfolio, with content organized under program topics and material from 10 sub-websites in the PBS network linked and integrated in one place (Thai PBS, 2023).

In addition, Thai PBS also provides online services in the form of Video on Demand (VOD) via VIPA, which is a Video Streaming Platform. Material broadcast via VIPA includes archived programs broadcast on Thai PBS TV over the past 11 years, as well as new programs produced in a format specifically for VIPA. VIPA also acts as a platform for presenting programs in the USER GENERATED category. This is a public space for new-generation program creators, where participants can receive advice and assistance from the professional program production team of Thai PBS TV (VIPA.me, 2024).

By continuously improving access to past and on-going programs on online platforms, the PBS TV stations are increasing viewer appeal to conveniently watch selected content through various communication devices, including mobile phones and tablets. This appeals to young viewers with varying interests or needs and is an investment in expanding viewership in the future. Specialized, participatory programs also address demands not otherwise catered for and further encourage longer-term viewing by particular interest groups of all ages.

Re-assessing the role / importance of public broadcasting

The primary social, educational and community well-being objectives of public broadcasting at Thai PBS have not changed (Mendel, 2010; Linkedin Thailand, 2021); however, some of the strategies and techniques by which public broadcasters interact with their audiences have – as explained in previous sections. Public broadcasting is more important in developing countries – where the need for education and technical knowledge is greater (UNESCO, 2005); although serving relatively small audiences at any one time in Thailand, the need for public broadcasting is growing and the main reasons are:

(a) with a growing population and the move to a technological, information-based economy, the needs for specialized educational material is increasing;

(b) public broadcasting is a logical focus for the development of innovative educational techniques, which facilitate learning in widely varied venues utilizing new technologies or better combinations of existing accessible technology; and

(c) public broadcasters provide accurate usable information, free of political interference or commercial bias, as well as social comment or cultural services not available on commercial media.

In summary modest continued funding (resourcing), for an active, innovative PBS, is an essential investment for the future development of Thailand.

Concluding Remarks

Broadcasting in Thailand today

In the context of a complex, competitive and dynamic media landscape it should be noted that digital TV still retains its foothold, despite the disruption caused by social-media and streaming platforms (CISION, 2024). In part, this is due to the acknowledged differentiation between urban and non-urban areas, where many people still watch TV as their main source of information and entertainment each day (Tortermvasana, 2023). So it is clear that active, adaptive management is essential for future survival and this will involve some re-assessment of primary roles, as well as improvement of quality of products and services provided.

Although some basic commercial pressures are on-going, currently, the TV broadcasting industry is facing a number of general challenges. These include: improving news and current affairs programs; increasing educational material output; continuing access to quality international programs; refining strategies to address audience diversification / fragmentation and widespread internet access; and utilizing AI to assist with administrative or management issues.

It has been reported that 88% of the Thai population (i.e. almost 62 million consumers) are internet users (BBC News, 2023); in this context, further comment about audience fragmentation is relevant. This process is due to consumers dispersing across different media channels and commentators agree that social media exert a major influence on audience movements; with different platforms emphasizing different activities (e.g. YouTube for generating income; TikTok for shopping and news updates). The influencer market continues to expand with the concept of ‘Fandom Marketing’ remaining popular (CISION, 2024).

Prospects for the future

Within the complex Thai media sector some challenges are constant – such as maintaining creative, artistic and cultural values while coping with commercial reality (Common, 2018). But, assuming efficient management, and despite the many disruptive influences over the last decade, associated with diversification of technologies, the digitization conversion and variable socio-economic change, the outlook for broadcasting in Thailand in the near future is positive. The main reasons for this optimistic view are: the on-going demand for authoritative news and quality analysis of local current affairs; continuing demand for quality overseas content as well as local drama series; increased recognition of the important social role of public broadcasting; increasing demand for educational content; and the on-going central role of TV in family / community infotainment – especially in provincial, non-urban areas.

However, the importance of continued planning cannot be over-emphasized, especially for issues relating to AI and audience fragmentation, and there is also some administrative uncertainty about future licensing, as all existing digital TV licenses expire in 2029 (Tortermvasana, 2023).

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