[SERIES NAME]

Synthetic media has made cultural production almost free. That has consequences for anyone who makes, funds, regulates or preserves culture in this region — and there is currently no serious, sustained conversation about it conducted from Asia.

The series alternates between two kinds of guest: the people building the tools, and the people responsible for institutions, memory and legitimacy. That alternation is the format, and it is what no existing show does.

What a listener leaves with:

• How cultural institutions are actually deciding what to do about synthetic media — not their public statements, their internal reasoning.
• How narrative campaigns are built and distributed at scale, from people who have done it.
• Where authorship, provenance and attribution are heading, from the people who will set those rules.
• What the economics of cultural production look like when the marginal cost of an image approaches zero.

Partners are not buying an audience that already exists. They are buying proximity to a specific set of people. The credibility of this proposal therefore rests entirely on who has agreed to appear.

Institutions represented among confirmed guests:

• [Government / statutory board]
• [Museum or national institution]
• [Frontier AI or platform company]
• [Global consultancy]
• [University or research lab]
• [Foundation or family office]
• [Gallery or biennale]
• [Creator-economy platform]

The guest list has been built deliberately rather than opportunistically, and it balances across five categories so the season reads as a survey rather than a series of favours.

Guest headshots and titles are presented as a grid in the accompanying one-pager. Every name is confirmed before publication of this document.

This is not a general-interest programme. It is designed for a narrow, senior audience that is otherwise very difficult to reach through paid media.

• Policy and government — officials working on culture, media, technology and soft power.
• Institutional art — directors, curators, collection managers, biennale and foundation staff.
• Technology — founders and operators at AI, platform and creative-tool companies.
• Capital — family offices, philanthropic arms, cultural funders.
• Professional services — consultancies advising on culture, brand and communications.
• Practitioners and students — the constituency that will still be watching in three years.

Geography: Singapore and Southeast Asia primarily; secondary concentrations in Hong Kong, Taipei, Seoul, Tokyo, and among Asia-focused professionals in London and New York.

One episode is released each week for twenty-five weeks. Every episode ships in video and audio simultaneously, on the principle that the two formats reach the same person in different states of attention.

• Long-form video — YouTube, as the primary discoverable archive.
• Long-form audio — Spotify, Apple Podcasts, and all standard feeds, for the lean-back listener.
• Vertical clips — ten highly produced cuts per episode for Instagram, TikTok, YouTube Shorts and LinkedIn. This is where the volume of reach is generated.
• Written — full transcript for search, plus an edited written recap for the newsletter.
• Guest amplification — every guest receives a ready-made asset pack, which materially raises the probability that they post. Their networks are the distribution.

A defined portion of partnership proceeds is allocated to paid amplification on YouTube and Meta, targeted at the audience categories above rather than at scale.

Every episode moves through a fixed six-stage lifecycle. The stages are scheduled in advance so production never depends on inspiration.

• T minus 14 daysAnnounceGuest announcement card, question solicitation from the audience, email to the list. Builds anticipation and grows the list before anything is spent on production.
• T minus 4 daysTeaseSixty-second trailer cut from the recording, released to YouTube, Instagram and LinkedIn. Guest reshares. Second email.
• RecordCaptureLong-form conversation on camera, plus stills, behind-the-scenes vertical footage, and studio portraits. One session, multiple raw formats.
• Release dayPublishLong-form video and audio, full transcript, email campaign, guest network push, press and newsletter outreach.
• T plus 1 to 21 daysRepurposeTen vertical clips, a single-question answer cut, quote cards, written recap. Paid amplification begins once organic performance identifies the strongest clip.
• Quarterly and end of seasonRecompileThematic supercuts across episodes, a chapter of the annual publication, and programming for the annual convening. The season becomes source material rather than back catalogue.

Reach here is a function of guest signal and format multiplication, not of an existing audience. The projection is therefore built from the bottom up, surface by surface, for a single episode.

Two structural reasons to expect a long tail beyond these figures. Because the same conversation exists in six formats, a meaningful share of the audience encounters it more than once and on more than one platform. And because the content is instructional rather than topical, it continues to be discovered and shared well after release.

Twenty-five guests have been secured over months of work. Each will spend 40–60 minutes on substantive, specific material — the kind of conversation that gets referenced rather than consumed. The season amounts to a thousand minutes of programming, roughly the length of a substantial audiobook, on a subject with no incumbent authority.

Because the series is limited and the guest list is high-signal, a partner gets disproportionately more from backing the entire season than from appearing in one or two episodes. Association with the whole body of work is the product. For that reason a small number of partner positions are offered rather than rolling per-episode inventory.

The right partner:

• Needs credible distribution into Asian cultural, creative and institutional markets, and currently has none.
• Sells a product or service the audience can actually use, so the association is legible rather than decorative.
• Is willing to amplify the content through its own channels — this materially changes the reach outcome.
• Is comfortable with full editorial independence over guests and questions.
• Wants a named position in a field before it has an established authority, rather than after.

Every position runs across all twenty-five episodes. Placements sit within a 40–60 minute episode as follows: pre-roll at 0:00, first mid-roll at approximately 15:00, second mid-roll at approximately 30:00.

A single partner may take all three positions. Rates are held for the full season and are not re-priced if reach exceeds projection.

The series sits alongside an existing programme of private, off-record dinners convening government, institutional art, technology and capital. Partners at the top two tiers are seated at those dinners.

• The dinners are never filmed. Off the record, Chatham House Rule, without exception. This is what protects their value.
• The series is a separate on-record format — frequently the same people, a different setting.
• Partners are seated as participants, not sponsors. There is no branding, no presentation, and no pitch in the room.

This document contains no measured audience data, because the series has not yet published. Everything in section 07 is a projection, and the assumptions behind it are set out here so they can be argued with.

• Clip performance assumes an average of 4,000 views across ten verticals per episode, consistent with accounts of similar size in adjacent professional categories.
• Paid amplification assumes $1,000 per episode delivering approximately 25,000 qualified impressions, at rates consistent with narrow professional targeting rather than broad reach buying.
• Guest reshare assumes a single post from each guest reaching a fraction of their following. This is the single largest variable and the least controllable.
• Long-form video and audio figures assume no pre-existing subscriber base and are deliberately conservative.
• Costs assume an existing venue at no rental cost, a two-camera setup, and freelance rather than agency post-production.