Disney+ Forges Local Content Strategy in APAC

The streaming giant pivots from Western narratives to hyper-local, culturally resonant storytelling across Japan and Korea. It’s embracing regional expertise and new formats like gaming IP adaptations and exploring microdramas.

The Magic Kingdom, it turns out, is a more expansive place than many once imagined.

For decades, the name Disney conjured images of Californian sunshine, animated princesses, and American dreams.

But four years into its ambitious Asia Pacific rollout, Disney Plus is charting a course that suggests a profound redefinition of its global identity, transforming from an exporter of Western narratives into a vibrant incubator of hyper-local, culturally resonant storytelling.

At the heart of this strategic pivot are executives like Eric Schrier, President of Disney Television Studios and global original television strategy, and Carol Choi, Executive VP of APAC integrated marketing, studio and original content strategy.

Speaking from the Hong Kong Disneyland Resort, a symbolic backdrop for global ambition meeting local charm, they outlined a vision that is as much about humility as it is about scale.

Schrier, with refreshing candor, admitted, “I don’t purport that I know what a Korean audience wants, or a Japanese audience wants… So I really rely on my teams. I know story, I know editorial process, and so I can help support them.” This isn’t just corporate speak; it’s an acknowledgment that genuine localization demands genuine deference to regional expertise.

The resulting content slate is a testament to this collaborative philosophy, a tapestry woven with threads from across the APAC region.

Japan, for instance, is set to deliver a groundbreaking collaboration with legendary game creator Kojima Hideo on the anime series “Death Stranding Isolations,” a move that signals Disney’s serious intent in the burgeoning world of gaming IP adaptations.

This isn’t merely dipping a toe; it’s a confident stride into a new artistic domain.

Schrier articulated this shift, stating, “Gaming is an art form, right? Initially you wouldn’t have thought of it as an art form, but it has become an art form. A different way of telling stories and storytelling in an interactive way.” It’s a significant evolution for a company rooted in traditional animation and cinema, recognizing that the next generation of storytelling doesn’t just unfold on a screen, but often within an interactive digital world.

Choi added that Disney is already adept at adapting various IPs, from manga to its own gaming properties, making the Kojima collaboration a natural, albeit high-profile, extension.

Beyond this marquee announcement, the Japanese lineup includes the second half of “Disney Twisted-Wonderland: The Animation Episode of Heartslabyul,” the Japan-Korea co-production romantic comedy “Merry Berry Love,” and a host of anime titles like “Tokyo Revengers: War of the Three Titans Arc” and “Medalist Season 2.”

Unscripted docuseries and comedy reality shows further diversify the offering, showing a comprehensive approach to capturing local tastes.

Korea, a recognized powerhouse in global content creation, continues to be a fertile ground for Disney+. The platform is capitalizing on Korea’s mature production infrastructure, which Choi notes is enabling rapid content development.

The Korean slate is robust, featuring crime dramas like “Made in Korea” and “Gold Land,” action series such as “The Manipulated,” and returning hits like Season 2 of “A Shop for Killers.”

Significantly, the strategy is evolving beyond initial action-heavy crime dramas to embrace romance and fantasy elements with strong female protagonists, a data-informed pivot to attract wider demographics.

Webtoon adaptations like “The Remarried Empress” and “Portraits of Delusion” further illustrate a commitment to tapping into popular local narratives.

Yet, while data analytics play a role in identifying audience segments, Schrier insists that creative instinct remains paramount. “Some of the biggest successes, or most of the biggest successes, I would argue, came from something that no one expected,” he mused, highlighting the necessity of taking a “leap of faith” in commissioning.

This balance between analytical rigor and artistic daring defines Disney’s approach.

The platform is also keenly observing and cautiously exploring the microdrama phenomenon reshaping Asian viewing habits. While acknowledging that Disney+ hasn’t finalized its strategy for this short-form, often vertical video format, Schrier expressed excitement about the potential. “My hope is we’ll bring vertical video to our platform at some point,” he stated, even as he pointed out the challenges of adapting the free-to-pay model and often lower production quality of existing microdrama platforms like DramaBox to Disney’s premium standards.

It’s a delicate dance: embracing innovation while upholding brand integrity.

The journey over the past four years has been marked by significant growth, with over 155 APAC originals launched. Choi recalled the initial skepticism surrounding their aggressive local production plans in 2021, a skepticism that has since been largely silenced by success.

The global travelability of APAC content, particularly anime, is a powerful validation of this strategy, with 65% of anime viewership occurring outside Japan. Even shorter formats, like the Australian phenomenon “Bluey,” prove that compelling storytelling, regardless of length, can resonate universally.

Ultimately, Disney’s APAC strategy is about more than just subscriber numbers; it’s about building a truly global creative network.

Schrier, drawing on his two decades at FX Entertainment, emphasized his philosophy of trust and collaboration: “I’m here to help creative people.” This is Disney, not as a monolithic content factory, but as a collaborative ecosystem, fostering partnerships with terrestrial broadcasters, publishers like Kodansha, and agencies such as HYBE for K-pop connections. It’s a vision where the magic isn’t just made in Hollywood, but is sparked in Seoul, Tokyo, and beyond, then shared with the world, enriching the global tapestry of stories for a new generation of viewers.