Medialink—Busy Making All the Right Moves
iNSiGHTS magazine had the privilege of chatting with Medialink’s Executive Director and CEO, Lovinia Chiu, once again, and since last year’s check-in, the company has multiplied its dividends. With growth in titles, merchandising, marketing activities, investments in co-production, and expansion into new territories, it’s hard to keep up with all the good news.
Looking at 2025, Medialink’s content titles have grown almost 7% (702 to over 752), reflecting their commitment to acquiring top-tier, trending Japanese content. This includes several S-class titles such as Gachiakuta, Takopi's Original Sin, Kaiju No. 8 Season 2 and My Hero Academia the Final Season—titles Lovinia declares are consistently ranked among Japan’s top five to 10 most popular series.
“We’ve also scaled up our merchandising efforts to support these content titles, growing from 379 brands to 425 brands. This not only enhances fan engagement but also reinforces the commercial value of our IPs across multiple consumer touchpoints,” Lovinia revealed, also proclaiming its proprietary YouTube channel, Ani-One, continues to be a powerful marketing tool, expanding its reach across Southeast Asia and beyond.
“Its ability to drive awareness and monetization has made it a key pillar in our digital strategy to support content distribution,” Lovinia explained.
Looking ahead to 2026, Medialink will continue to acquire high-demand titles, deepen regional partnerships, and explore new experiential and localised content initiatives to further engage anime fans across Asia.
Pia Laurel
Head of International Sales and Distribution
ABS-CBN Studios
Investing in Relationships
According to Lovinia, Medialink has been doing IP management for over 30 years. Bilibili partnered up with Medialink in 2015, and two years ago, they advanced their strategic partnership by bringing Bilibili’s Chinese anime outside of China.
“We are not only providing content to Bilibili but also helping them to distribute their content and supporting them with merchandising and marketing—a role that has reinforced our position as a key gateway for Asian content into Southeast Asia and beyond,” Lovinia noted.
An extension of its distribution is its steady expansion of its footprint into content production through strategic investments and co-productions. Over the past few years, the company has co-invested in a diverse slate of projects, including:
49 Days with a Merman—distributed its Japanese anime and then adapted it into a live-action drama.
Children of the Sea—a Japanese animated feature inspired by a four-panel manga.
Kiki and Luna—a children’s IP that aired on CCTV and gained strong traction in Mainland China, especially within STEM-related educational content.
Nailoong—a Chinese locally developed project with strong commercial potential, which Medialink is actively promoting.
“Beyond investing in content, we’ve also invested in production companies, like S11, which will help us build our capabilities in original content creation,” Lovinia highlighted.
Among the many successes, Lovinia believes that the most significant milestone in 2025 for Medialink was the launch of its Japanese subsidiary in August. This marks a new chapter in its production strategy, which involves the pursuit of merger and acquisition opportunities or strategic investments in IP-related companies in Japan, co-investing in Japanese IPs, and forming strategic partnerships with Japanese IP owners and licensors.
The big picture is an exciting one for Medialink, as this multi-dimensional IP management company continues to actively shape the anime and entertainment ecosystem across Asia, through innovation, collaboration, and a continued focus on high-quality content and audience engagement.
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Explore opportunities with Medialink at ATF 2025 (Booth C16)