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Social Media in Malaysia (Informative Speech)

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Social Media in Malaysia (Informative Speech)

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Article 1: Malaysian's Youth usage on social media

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Article 1: Malaysian's Youth usage on social media

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Investigating Malaysian Youth's Social Media Usage

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In little more than a decade, the impact of social media has gone from being an entertaining extra to a fully integrated part of nearly every aspect of daily life for many.

Recently in the realm of commerce, Facebook faced skepticism in its testimony to the Senate Banking Committee on Libra, its proposed cryptocurrency and alternative financial system. In politics, heartthrob Justin Bieber tweeted the President of the United States, imploring him to "let those kids out of cages." In law enforcement, the Philadelphia police department moved to terminate more than a dozen police officers after their racist comments on social media were revealed.

And in the ultimate meshing of the digital and physical worlds, Elon Musk raised the specter of essentially removing the space between social and media through the invention - at some future time - of a brain implant that connects human tissue to computer chips.

All this, in the span of about a week.

As quickly as social media has insinuated itself into politics, the workplace, home life, and elsewhere, it continues to evolve at lightning speed, making it tricky to predict which way it will morph next. It's hard to recall now, but SixDegrees.com, Friendster, and Makeoutclub.com were each once the next big thing, while one survivor has continued to grow in astonishing ways. In 2006, Facebook had 7.3 million registered users and reportedly turned down a $750 million buyout offer. In the first quarter of 2019, the company could claim 2.38 billion active users, with a market capitalization hovering around half a trillion dollars.

"In 2007 I argued that Facebook might not be around in 15 years. I'm clearly wrong, but it is interesting to see how things have changed," says Jonah Berger, Wharton marketing professor and author of Contagious: Why Things Catch On. The challenge going forward is not just having the best features, but staying relevant, he says. "Social media isn't a utility. It's not like power or water where all people care about is whether it works. Young people care about what using one platform or another says about them. It's not cool to use the same site as your parents and grandparents, so they're always looking for the hot new thing."

Just a dozen years ago, everyone was talking about a different set of social networking services, "and I don't think anyone quite expected Facebook to become so huge and so dominant," says Kevin Werbach, Wharton professor of legal studies and business ethics. "At that point, this was an interesting discussion about tech start-ups.

"Today, Facebook is one of the most valuable companies on earth and front and center in a whole range of public policy debates, so the scope of issues we're thinking about with social media are broader than then," Werbach adds.

Cambridge Analytica, the impact of social media on the last presidential election and other issues may have eroded public trust, Werbach said, but "social media has become really fundamental to the way that billions of people get information about the world and connect with each other, which raises the stakes enormously."
Just Say No
"Facebook is dangerous," said Sen. Sherrod Brown (D-Ohio) at July's hearing of the Senate Banking Committee. "Facebook has said, 'just trust us.' And every time Americans trust you, they seem to get burned."

Social media has plenty of detractors, but by and large, do Americans agree with Brown's sentiment? In 2018, 42% of those surveyed in a Pew Research Center survey said they had taken a break from checking the platform for a period of several weeks or more, while 26% said they had deleted the Facebook app from their cellphone.

A year later, though, despite the reputational beating social media had taken, the 2019 iteration of the same Pew survey found social media use unchanged from 2018.

Facebook has its critics, says Wharton marketing professor Pinar Yildirim, and they are mainly concerned about two things: mishandling consumer data and poorly managing access to it by third-party providers; and the level of disinformation spreading on Facebook.

"Social media isn't a utility. It's not like power or water where all people care about is whether it works. Young people care about what using one platform or another says about them."-Jonah Berger

"The question is, are we at a point where the social media organizations and their activities should be regulated for the benefit of the consumer? I do not think more regulation will necessarily help, but certainly this is what is on the table," says Yildirim. "In the period leading to the [2020 U.S. presidential] elections, we will hear a range of discussions about regulation on the tech industry."

Some proposals relate to stricter regulation on collection and use of consumer data, Yildirim adds, noting that the European Union already moved to stricter regulations last year by adopting the General Data Protection Regulation (GDPR). "A number of companies in the U.S. and around the world adopted the GDPR protocol for all of their customers, not just for the residents of EU," she says. "We will likely hear more discussions on regulation of such data, and we will likely see stricter regulation of this data."

The other discussion bound to intensify is around the separation of Big Tech into smaller, easier to regulate units. "Most of us academics do not think that dividing organizations into smaller units is sufficient to improve their compliance with regulation. It also does not necessarily mean they will be less competitive," says Yildirim. "For instance, in the discussion of Facebook, it is not even clear yet how breaking up the company would work, given that it does not have very clear boundaries between different business units."

Even if such regulations never come to pass, the discussions "may nevertheless hurt Big Tech financially, given that most companies are publicly traded and it adds to the uncertainty," Yildirim notes.

One prominent commentator about the negative impact of social media is Jaron Lanier, whose fervent opposition makes itself apparent in the plainspoken title of his 2018 book Ten Arguments for Deleting Your Social Media Accounts Right Now. He cites loss of free will, social media's erosion of the truth and destruction of empathy, its tendency to make people unhappy, and the way in which it is "making politics impossible." The title of the last chapter: "Social Media Hates Your Soul."

Lanier is no tech troglodyte. A polymath who bridges the digital and analog realms, he is a musician and writer, has worked as a scientist for Microsoft, and was co-founder of pioneering virtual reality company VPL Research. The nastiness that online existence brings out in users "turned out to be like crude oil for the social media companies and other behavior manipulation empires that quickly came to dominate the internet, because it fuelled negative behavioral feedback," he writes.

"Social media has become really fundamental to the way that billions of people get information about the world and connect with each other, which raises the stakes enormously."-Kevin Werbach

Worse, there is an addictive quality to social media, and that is a big issue, says Berger. "Social media is like a drug, but what makes it particularly addictive is that it is adaptive. It adjusts based on your preferences and behaviors," he says, "which makes it both more useful and engaging and interesting, and more addictive."

The effect of that drug on mental health is only beginning to be examined, but a recent University of Pennsylvania study makes the case that limiting use of social media can be a good thing. Researchers looked at a group of 143 Penn undergraduates, using baseline monitoring and randomly assigning each to either a group limiting Facebook, Instagram, and Snapchat use to 10 minutes per platform per day, or to one told to use social media as usual for three weeks. The results, published in the Journal of Social and Clinical Psychology, showed significant reductions in loneliness and depression over three weeks in the group limiting use compared to the control group.

However, "both groups showed significant decreases in anxiety and fear of missing out over baseline, suggesting a benefit of increased self-monitoring," wrote the authors of " No More FOMO: Limiting Social Media Decreases Loneliness and Depression."
Monetizing a League (and a Reality) All Their Own
No one, though, is predicting that social media is a fad that will pass like its analog antecedent of the 1970s, citizens band radio. It will, however, evolve. The idea of social media as just a way to reconnect with high school friends seems quaint now. The impact of social media today is a big tent, including not only networks like Facebook, but also forums like Reddit and video-sharing platforms.

"The question is, are we at a point where the social media organizations and their activities should be regulated for the benefit of the consumer?"-Pinar Yildirim

Virtual worlds and gaming have become a major part of the sector, too. Wharton marketing professor Peter Fader says gamers are creating their own user-generated content through virtual worlds - and the revenue to go with it. He points to one group of gamers that use Grand Theft Auto as a kind of stage or departure point "to have their own virtual show." In NoPixel, the Grand Theft Auto roleplaying server, "not much really happens and millions are tuning in to watch them. Just watching, not even participating, and it's either live-streamed or recorded. And people are making donations to support this thing. The gamers are making hundreds of thousands of dollars.

"Now imagine having a 30-person reality show all filmed live and you can take the perspective of one person and then watch it again from another person's perspective," he continues. "Along the way, they can have a tip jar or talk about things they endorse. That kind of immersive media starts to build the bridge to what we like to get out of TV, but even better. Those things are on the periphery right now, but I think they are going to take over."

Big players have noticed the potential of virtual sports and are getting into the act. In a striking example of the physical world imitating the digital one, media companies are putting up real-life stadiums where teams compete in video games. Comcast Spectator in March announced that it is building a new $50 million stadium in South Philadelphia that will be the home of the Philadelphia Fusion, the city's e-sports team in the Overwatch League.

E-sports is serious business, with revenues globally - including advertising, sponsorships, and media rights - expected to reach $1.1 billion in 2019, according to gaming industry analytics company Newzoo.

"E-sports is absolutely here to stay," says Fader, "and I think it's a safe bet to say that e-sports will dominate most traditional sports, managing far more revenue and having more impact on our consciousness than baseball."

It's no surprise, then, that Facebook has begun making deals to carry e-sports content. In fact, it is diversification like this that may keep Facebook from ending up like its failed upstart peers. One thing that Facebook has managed to do that MySpace, Friendster, and others didn't, is "a very good job of creating functional integration with the value they are delivering, as opposed to being a place to just share photos or send messages, it serves a lot of diversified functions," says Keith E. Niedermeier, director of Wharton's undergraduate marketing program and an adjunct professor of marketing. "They are creating groups and group connections, but you see them moving into lots of other services like streaming entertainment, mobile payments, and customer-to-customer buying and selling."

"[WeChat] has really instantiated itself as a day-to-day tool in China, and it's clear to me that Facebook would like to emulate that sort of thing."-Keith Niedermeier

In China, WeChat has become the biggest mobile payment platform in the world and it is the platform for many third-party apps for things like bike sharing and ordering airplane tickets. "It has really instantiated itself as a day-to-day tool in China, and it's clear to me that Facebook would like to emulate that sort of thing," says Niedermeier.

Among nascent social media platforms that are particularly promising right now, Yildirim says that "social media platforms which are directed at achieving some objectives with smaller scale and more homogenous people stand a higher chance of entering the market and being able to compete with large, general-purpose platforms such as Facebook and Twitter."
Irreplaceable - and Damaging?
Of course, many have begun to believe that the biggest challenge around the impact of social media may be the way it is changing society. The "attention-grabbing algorithms underlying social media ... propel authoritarian practices that aim to sow confusion, ignorance, prejudice, and chaos, thereby facilitating manipulation and undermining accountability," writes University of Toronto political science professor Ronald Deibert in a January essay in the Journal of Democracy.

Berger notes that any piece of information can now get attention, whether it is true or false. This means more potential for movements both welcome as well as malevolent. "Before, only media companies had reach, so it was harder for false information to spread. It could happen, but it was slow. Now anyone can share anything, and because people tend to believe what they see, false information can spread just as, if not more easily, than the truth.

"It's certainly allowed more things to bubble up rather than flow from the top down," says Berger. Absent gatekeepers, "everyone is their own media company, broadcasting to the particular set of people that follow them. It used to be that a major label signing you was the path to stardom. Now artists can build their own following online and break through that way. Social media has certainly made fame and attention more democratic, though not always in a good way."

Deibert writes that "in a short period of time, digital technologies have become pervasive and deeply embedded in all that we do. Unwinding them completely is neither possible nor desirable."

His cri de coeur argues: that citizens have the right to know what companies and governments are doing with their personal data, and that this right be extended internationally to hold autocratic regimes to account; that companies be barred from selling products and services that enable infringements on human rights and harms to civil society; for the creation of independent agencies with real power to hold social-media platforms to account; and the creation and enforcement of strong antitrust laws to end dominance of a very few social-media companies.

"Social media has certainly made fame and attention more democratic, though not always in a good way."-Jonah Berger

The rising tide of concern is now extending across sectors. The U.S. Justice Department has recently begun an anti-trust investigation into how tech companies operate in social media, search, and retail services. In July, the John S. and James L. Knight Foundation announced the award of nearly $50 million in new funding to 11 U.S. universities to research how technology is transforming democracy. The foundation is also soliciting additional grant proposals to fund policy and legal research into the "rules, norms, and governance" that should be applied to social media and technology companies.

Given all of the reasons not to engage with social media - the privacy issues, the slippery-slope addiction aspect of it, its role in spreading incivility - do we want to try to put the genie back in the bottle? Can we? Does social media definitely have a future?

"Yes, surely it does," says Yildirim. "Social connections are fabrics of society. Just as the telegraph or telephone as an innovation of communication did not reduce social connectivity, online social networks did not either. If anything, it likely increased connectivity, or reduced the cost of communicating with others."

It is thanks to online social networks that individuals likely have larger social networks, she says, and while many criticize the fact that we are in touch with large numbers of individuals in a superficial way, these light connections may nevertheless be contributing to our lives when it comes to economic and social outcomes - ranging from finding jobs to meeting new people.

"We are used to being in contact with more individuals, and it is easier to remain in contact with people we only met once. Giving up on this does not seem likely for humans," she says. "The technology with which we keep in touch may change, may evolve, but we will have social connections and platforms which enable them. Facebook may be gone in 10 years, but there will be something else."

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The Impact of Social Media: Is it Irreplaceable?

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Social media as we know it has barely reached its 20th birthday, but it's changed the fabric of everyday life. What does the future hold for the sector and the players currently at the top? ...Read More

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Published on

This is YouTube: The Malaysian Story. 2018 mark six years since we launched the YouTube Partner Program in Malaysia, the YouTube community is now truly more vibrant and diverse than ever. And we couldn't be more proud of what our Malaysian creators and partners have achieved.

1. 1. YouTube: The Malaysian Story NOVEMBER 2018

2. 2. YouTube:TheMalaysianStory 1 YOUTUBE: THE STORY September 2018

3. 3. YouTube:TheMalaysianStory YouTube:TheMalaysianStory 2 3 Foreword As we enter an exciting phase of growth for YouTube in Malaysia, I am delighted to be able to share our publication "YouTube: The Malaysian Story" with you. As we mark six years since we launched the YouTube Partner Program in Malaysia, the YouTube community is now truly more vibrant and diverse than ever. And we couldn't be more proud of what our Malaysian creators and partners have achieved. In this report, we showcase some inspirational Malaysian creator stories across a wide array of genres. Our creators are musicians, educators, filmmakers, chefs, and local fitness enthusiasts, to name a few. They have used YouTube as a springboard for their careers. Malaysian creators have been delighting audiences with their entrepreneurship and creativity, and since their initial YouTube days, many have found wider and broader success across Malaysia and internationally. What really makes us proud is the fact that many of our creators have used YouTube not only to promote their own talent, but to promote Malaysia to the world as well. Malaysian culture, food, and roads less travelled are being showcased as they never have been before. Many Malaysian creators have also used the YouTube platform to raise awareness and spread important messages around social issues. YouTube in Malaysia would not be where it is today were it not for the key players that YouTube and its creators collaborate with on a daily basis. These include our partners - broadcasters, music labels, publishers and thousands of independent producers. We are also proud of our engagement with the Malaysian government and NGOs, and the use of the YouTube platform to spread important public service messages to viewers. I am delighted with how far YouTube has come in Malaysia, and my team and I are looking forward to more new milestones for YouTube. With best regards, Marc Woo Country Head, Google Malaysia

4. 4. YouTube:TheMalaysianStory 5 YouTube:TheMalaysianStory 4 Executive summary The internet has enabled people worldwide to connect, create, and distribute new works of art like never before in human history. This boom in the creative economy has generated an enormous amount of revenue worldwide. Digital video revenues are expected to soar from US$64 billion to US$119 billion between 2017 and 2022.1 In Southeast Asia, digital products and services are projected to contribute an additional US$1 trillion to the region's GDP by 2025.2 In Malaysia, the creative content and technology industry is growing at an exponential rate. Already, over 11,000 professionals are employed in sectors such as animation, games, visual effects & new media, multimedia assets for apps, and content- enabled delivery platforms. According to the Malaysia Digital Economy Corporation, their work results in exports valued at RM1.2 billion in 2016 alone, making this the fastest growing technology marketplace in the last three years.3 YouTube continues to be an important part of that growth and success. YouTube is the world's most popular video-sharing website. Here, people search for and watch one billion hours of content every day, with YouTube watch time on mobile devices alone averaging at 60 minutes per day. Malaysian stories can now be watched by new audiences all over the world, and creators in Malaysia have become widely known not only in their homeland but also worldwide. That sort of opportunity is drawing creative and entrepreneurial Malaysians to YouTube's platform. Gone are the days when future Malaysian stars had only traditional formats like TV to bring their ideas to life. Instead, YouTube delivers a global audience of keenly engaged viewers who are watching more online content than ever before. On YouTube, revenues creators earn mostly come from advertisements that run with their content. In addition to their earnings from YouTube, many creators also benefit from brand sponsorships with top advertisers. This enables Malaysian creators' stories, from children's cartoons to fascinating short films, to be seen and enjoyed by people all over the world. Along with hosting all of this great Malaysian content, YouTube is helping to build the new creative ecosystem by directly supporting creators. Through workshops, commissioned content, and partnerships with established industry bodies, YouTube is providing a new wave of creators with the tools they need to build sustainable careers in an ever-changing media environment. YouTube doesn't just benefit the viewers and creators. Content owners such as broadcasters and production houses can also monetize their content on YouTube, finding new ways of engaging their audiences. Thanks to our award winning copyright management system called Content ID, YouTube offers content owners an effective way to protect their intellectual property. Using this technology, they can scan videos uploaded by other users against their own content and have the option to track, block, or monetize them. Since its launch in 2012, YouTube has paid more than US$3 billion to rights holders who have chosen to monetize their content through Content ID. The internet has created new streams of revenue for creators and fundamentally changed how audiences enjoy videos, music, and other media. Services like YouTube export cultural content between countries at an unprecedented scale, generating new opportunities for creators, consumers, and the creative industry. 1 Juniper Research, "OTTs Vs TV Networks ~ 3 Winning Strategies," <https://goo.gl/AxbsMt> 2 AtKearny, "The ASEAN Digital Revolution," 2016, <https://goo. gl/1O8J6W> 3 MDec, Creativity will drive new engines of innovation, < https://mdec.my/blog/?p=83>

5. 5. YouTube:TheMalaysianStory 7 YouTube:TheMalaysianStory 6 01 What is YouTube?

6. 6. YouTube:TheMalaysianStory YouTube:TheMalaysianStory 8 9 The first video on YouTube was a 19-second- long clip entitled "Me at the Zoo,"4 uploaded by YouTube's co-founder, Jawed Karim, in May 2005. With this humble beginning, YouTube has grown as an online video-sharing platform boasting 1.9 billion monthly logged in users worldwide.5 The popularity of the YouTube platform means the opportunities for creators on YouTube are incredible. 4 Me at the Zoo (April 23 2005) YouTube <https://www.youtube.com/watch?v=jNQXAC9IVRw>. 5 YouTube Internal Data, Global, January 2017-2018 YouTube is an online video sharing platform that empowers people to create content and to share that content with friends, family, and even a global audience. YouTube has launched local versions in more than 91 countries, including Malaysia. Every month, more than 1.9 billion people watch YouTube. YouTube is available in 80 languages. This means that 95% of the total Internet population can use it in the language they speak. The number of users following creators and engaging with their channels globally every day grew 70% in the last year. Every minute, more than 400 hours of new videos are uploaded to YouTube. Every day, people watch one billion hours of YouTube. This genereates billions of views for videos created by the global creative community. 80 91LOCAL VERSIONS BILLION PEOPLE 1.9 70%

7. 7. YouTube:TheMalaysianStory 11 YouTube:TheMalaysianStory 10 02 YouTube in Malaysia

8. 8. YouTube:TheMalaysianStory 12 13 Malaysians have embraced YouTube both as a source of information and entertainment, and as a platform to share Malaysian stories with each other and with the world. According to Kantar TNS, 70% of audiences in Malaysia across life stages (single professionals, couples and parents) say they watch YouTube every day.6 Moreover, 4-in-5 of them say that they visit YouTube as the first stop when looking for any kind of videos.7 So it is no surprise that in Malaysia YouTube watchtime across all devices grew in 2017 at a rate of more than 47% year on year.8 When asked about genre preferences, here is what Malaysians loved the most on YouTube: music, movies, comedy, sports, TV shows, cooking videos as well as tech and news.9 When it comes to device usage, it is interesting to note that the country is very much mobile- first, with 60% of Malaysians exclusively using their smartphones more than any other device to access the Internet. 6, 7 Kantar TNS YouTube Audience Profiling Study, 2018. 8 YouTube Internal Data, 2017 9 The Connected Consumer Survey, Malaysia, 2017 Malaysians love watching videos YouTube is the platform for content creators to share their voices and grow a creative business. We are proud that creators are growing their audiences quickly. Globally, there has been a 75% increase in the number of channels with +1M subscribers in just one year.10 This ecosystem of content creators is thriving in Malaysia too. Cartoon Hooligans became the first Malaysian channel to reach 1 million subscribers just two years ago, in 2016. Since then, we've seen more channels reach that impressive threshold, with even more creators showing healthy growth with audiences in the tens and hundreds of thousands. Malaysian creators are attracting not only local subscribers but also loyal fans from all over the world. Take Digital Durian's 'Didi & Friends'. Recognized for their animated sing-along videos of Malay folk songs that feature a group of cute cartoon chickens, the Didi & Friends channel has since branched out into nine languages, including Bahasa Indonesia, Spanish, Portuguese, Hindi and Thai, for a combined reach of nearly 1.5 million subscribers around the world. What's more, there are already plans to have the content dubbed into even more languages in the future. YouTube:TheMalaysianStory Malaysian stories are being loved by the world 10 YouTube Internal Data, Global

9. 9. YouTube:TheMalaysianStory 15 YouTube:TheMalaysianStory 14 03 How Malaysian creators use YouTube to build a business

10. 10. YouTube:TheMalaysianStory YouTube:TheMalaysianStory 16 17 What's so amazing about YouTube is that people all over the world use it as a tool to express their passion and creativity. By doing so, they attract fans and position themselves as creators. Today, millions of channels in over 90 countries are earning revenue from their videos through the YouTube Partner Program. They range from independent musicians, comedians and creators to major international music labels, film studios, emerging publishers, and broadcasters. For an increasing number, YouTube is becoming their main business and source of income. In fact, over the last year, the number of channels earning over US$100,000 annually grew by more than 50 percent.11 Malaysian creators are also making the most of these opportunities. THE NUMBER OF YOUTUBE CHANNELS MAKING MORE THAN $100,000 IN THE LAST YEAR GREW 50% 11 YouTube Internal Data, Global,2018 YouTube as a springboard for wider creative success Many content creators are also able to translate their popularity on YouTube into entirely new revenue streams and business opportunities. On top of revenue earned from advertising on YouTube, creators have been able to diversify their success through new projects from broadcasting deals, merchandising, fan meet-ups, sponsorships, brand endorsements, and best-selling books. The primary way creators make money from their YouTube videos is from advertising. Creators receive the majority of the advertising revenue generated from ads associated with their content. Advertising appears on YouTube in several different forms, including display and video advertising. The key ingredients for a profitable YouTube channel are a loyal, engaged community and a steady stream of great videos. Creators can grow their audiences with videos that people love to watch. As members of the YouTube Partner Program, creators can earn money from advertisements served on their videos. Once a channel reaches 4,000 watch hours in the previous 12 months and 1,000 subscribers, it is eligible to apply for membership in the program, and applications are subject to a manual review.12 Once approved all they need to do is keep making great content that people want to watch! How do Malaysian creators make money on YouTube? 12 Requirements include that the video is advertiser-friendly, created by them or they have permission to use it commercially, and complies with YouTube Partner Program policies, YouTube's Terms of Service, and Community Guidelines.

11. 11. YouTube:TheMalaysianStory YouTube:TheMalaysianStory 18 19 YOUTUBE IS A PLACE WHERE TRENDS ARE BROKEN - AND GO MAINSTREAM - WHERE NEW STARS ARE DISCOVERED, AND NEW BUSINESS MODELS FLOURISH The growth of the digital creator economy, boosted by video sharing platforms like YouTube, led to the creation of new types of entertainment businesses. Multi-Channel Networks ("MCNs" or "networks") are service providers that affiliate with multiple online video channels to offer services that may include audience development, content programming, creator collaborations, digital rights management, monetization, and/or sales. Malaysia is home to one of Asia's biggest MCNs. WebTVAsia, headquartered in Kuala Lumpur, was founded in 2013 and is one of the fastest growing digital media entertainment companies in Asia with offices and studios in 9 countries. Its partners are leading entertainment brands and artists from China, Korea, Japan, Hong Kong, Taiwan, Vietnam, Thailand, Malaysia, Indonesia, and Singapore. With over 1,000 top channels, it has a global audience of over 700 million people. New entertainment businesses - meet MCNs

12. 12. YouTube:TheMalaysianStory 21 YouTube:TheMalaysianStory 20 04 Malaysian YouTube Creators are making it big locally and around the world

13. 13. YouTube:TheMalaysianStory YouTube:TheMalaysianStory 22 23 Eye-catching stories presented by talented creators in Malaysia are attracting people's attention both in Malaysia and all across the globe. From folk songs that have captured the attention of fans in Thailand, Vietnam, India, and even South America, to fitness routines that are winning fans in every corner of the world, Malaysians are communicating with the whole world through their videos. Les Copaque Malaysian animation studio Les' Copaque - named after the colloquial Malay term 'last kopek', which means 'the last card' - has grown leaps and bounds since it was founded back in 2005. The founder Hj Burhanuddin Md Radzi, a former oil and gas engineer, is passionate about telling wholesome tales that are also uniquely Malaysian, which led to the creation of their iconic duo 'Upin & Ipin' in 2007. Set in a Malaysian 'kampung', 'Upin & Ipin' tells the story of a pair of 5-year-old identical twins who share fun and amusing activities with their friends. Each episode would harken back to a collective Malaysian memory of a certain game we used to play as kids, or scenarios we've experienced while growing up, neatly wrapped up in lessons about various good values that are relevant to the show's young audience. While the show made its name on the small screen, Les Copaque was able to really grow the 'Upin & Ipin' brand on YouTube. Ever since the creation of the show's channel in 2009, they have pulled in more than 3 million subscribers and over 2 billion views. This has opened up opportunities for the studio to branch into merchandising and experiential attractions, a model that have formed the benchmark for other local animation studios. Today, Les' Copaque's reach has penetrated markets as far away as Indonesia, Brunei, India and even the United States. Sharing Malaysian stories with the world

14. 14. YouTube:TheMalaysianStory 24 Zee Avi's meteoric rise to fame is a YouTube success story that many Malaysians have come to know and aspire to. Born Izyan Alirahman, her very first YouTube video was of a performance she uploaded back in 2007 to be shared with a friend. She was surprised to find more than just a handful of views, and decided to continue uploading more videos. Before long, she found herself right on the YouTube homepage. Views began surging in like a torrent past the one million mark, and soon she was dubbed a "YouTube Sensation." While some may have crumbled at the new-found attention, the Bornean has channeled them into a drive to churn out more original compositions. She was soon approached by an American agency that managed big hitters like The White Stripes, and the rest is history. To date, the singer has three studio albums under her belt, along with a multitude of awards and recognition. Despite all of that glitz and glam, she still calls YouTube home and continues to upload videos of her performances with fans just as she had done for friends all those years ago. Cross-continent musical musings 25 Zee Avi YouTube:TheMalaysianStory

15. 15. YouTube:TheMalaysianStory YouTube:TheMalaysianStory 26 27 Didi and Friends In 2008, school friends Sinan Ismail and Hairul Faizal Izwan founded Digital Durian to provide digital and design services. Having soon realised that this was not their passion, Sinan and Hairul took a chance by creating the 'Didi and Friends' animation series after taking part in an Intellectual Property Creators' Challenge (IPCC) organised by the Malaysian Digital Economy Corporation (MDEC), and winning a RM50,000 grant. The character Didi started out as a Science Explorer, but the series was not gaining the traction Sinan and Hairul wanted. After tweaking Didi's design, which is inspired by the Malaysian serama chicken, and shifting the focus to children folk songs, 'Didi and Friends' has grown to become a household name, especially among parents with young children. In fact, the channel was so well received that it has since branched out to other markets, including Indonesia, Spain, Brazil, India, and Thailand, which pulled in a total of nearly 1.5 million subscribers worldwide. Digital Durian's other success story, Omar and Hana, was launched in February 2017, and is already making it big on YouTube. The Islamic pre-school channel has more than 700,000 subscribers, with more than three million views as of today. Did and Friends gets Malaysian kids to sing-along to folk songs Joanna Soh Joanna Soh started on YouTube in 2013 and is focused on inspiring her followers to live a happy, healthy, and balanced life. While her videos primarily cover topics like effective home exercises, simple and healthy recipes, and fitness tips and advice, she also uses the occasional lifestyle vlogs to interact with fans - not just in Malaysia, but from countries around the world such as India and the United Arab Emirates.13 Joanna got her start when she was studying in the UK, where she juggled jobs as a part-time personal trainer and talk show producer. Wanting to create a bigger impact, she quit her job to pursue YouTube. Expanding on her content and taking a step to reach out to her audience, she started diversifying her content to improve its production value, creating videos on approaching a fitter life with recipes, tips, vlogs and educational content. "I believe through my presence on YouTube, it has allowed me to distinguish myself from just being a 'personal trainer'. The reality is there are a lot of personal trainers out there, but by being on YouTube, I'm able to take my experiences and knowledge one step further by making myself a 'trusted brand'. Without YouTube, I'd pretty much just be in a gym setting engaging with people on a one-to-one basis." Her determination and willpower paid off when she earned her Gold Creator Award in 2017 after reaching over a million subscribers. Fitness guru Joanna Soh's gold approach to a healthy lifestyle 13 Star R.AGE, "Fitness Youtuber Joanna Soh Hopes To Empower Women", August 2016

16. 16. YouTube:TheMalaysianStory 29 YouTube:TheMalaysianStory 28 05 A new generation of creative talent

17. 17. YouTube:TheMalaysianStory YouTube:TheMalaysianStory 30 31 With more and more Malaysians creating exciting and unique content on YouTube, a new generation of creative entrepreneurs has emerged. They invest in growing their digital marketing, online video production and creative skills, thus building exciting new careers on the platforms. While we often see headlines featuring the latest overnight viral sensation, most successful Malaysian creators spend years learning and refining their craft and building up a dedicated fan base. These are just a few of the Malaysian voices engaging their audience while pursuing their passion thanks to YouTube. GamerZakh Zakhren Yazid, otherwise known as GamerZakh, operates his YouTube channel with one focus: to share his love of computer games, both old and new. Under his YouTube moniker, he takes his viewers across distant lands from nostalgic titles of the mid-90s and early 2000s, to modern day fan favorites. Having grown up as a gamer since the time of MS-DOS and dial-up internet, he crafted his niche of 'Nostalgic Gaming' after gaining inspiration from other YouTube creators and started his channel in 2011. The platform didn't only help him connect with other like-minded gamers, but it also became useful in polishing his multimedia know- how and soft skills, both of which have helped shaped him into the creator he is today. GamerZakh takes a unique and calculated approach to his online strategy for the growth of his channel. As a multimedia graduate, he knew that he had to stand out against billions of channels on YouTube, so he needed to pay attention to discoverability. He was able to slowly make a name for himself by paying more attention to the little things like titles, descriptions, and content so that he can easily be found by fans. Doing so allowed him to reach out to viewers globally as he is better able to connect with international audiences who support his content. While other similar creators chase trends and pursue the latest games in the market, GamerZakh believes retro old school games are timeless and revisits classics with his fans around the globe. One person's bargain bin is GamerZahk's retro gold

18. 18. YouTube:TheMalaysianStory 3332 Luna Tasha Millennial vlogger and TV host Nurnatasha Binti Mohd Shahrizan began her YouTube journey at a young age. Going by the name Luna Tasha on her channel, she learned to overcome her shyness and gain confidence by vlogging on YouTube. Luna started her channel as a means of expressing herself. She was inspired by other well-known beauty creators like Bethany Mota (US) and Zoella (UK), so she mustered up the courage to put herself before a camera and began creating beauty and fashion content for YouTube. "I was a very shy kid, and my extreme eczema on my upper lip area at that time did not help with that situation. I realised I began to open up when I discovered technology. I wasn't shy in front of the camera. After creating content for awhile , I grew out of my shyness and started to document my life on my YouTube channel," said Luna. "I have the career and confidence that I have because of YouTube. I'm no longer that shy girl who stares at the ground when she speaks, but an 18-year-old that can speak to a crowd of thousands live at a whim. I am immensely grateful!" Whenever the camera is focused on her, the timid Nurnatasha is replaced by the confident Luna Tasha. The more time she spent on screen, the more confident she became, and the more she was able to explore new types of content to be shared with her fans, such as vlogging her day-to- day life. In fact, her decision to include vlogs in her channel programming eventually landed her the chance to be the host of a popular children's talk show, "Bananana!" in which she was the longest running host for the programme. YouTube has definitely changed this 18-year-old's life for the better, but it has also helped to do the same for her fans. With the support of her family and friends, Luna now stands proud, confident and empowered to fulfill the role of a star and young role model for her fans. From mobile vlogger to TV host

19. 19. YouTube:TheMalaysianStory 34 The endlessly witty Zukie Mohamad has carved a name for himself on YouTube under the moniker Zukieee, where he showcases his unique take on comedy in the form of sketches that add color to what would typically be mundane situations. His passion for creation stemmed from a childhood filled with video experimentations. That love for videography from a young age has fueled his drive to create quality comedy. A few years ago Zukie, who was then working as a zookeeper, saved up enough money to purchase his first smartphone and thus began his YouTube content upload journey. "Before YouTube, I had a very limited fanbase. Nowadays, my videos have reached a wide range of viewers and has often trended. With all this exposure, I was able to greatly increase subscriptions to my channel and many have come to know more about my videos and I." "This drive to create content has led me to continue making good videos, especially on a platform like YouTube. My aim is to build a new 'empire' on YouTube over the next foreseeable future," shared Zukie. For Zukie, YouTube is an appealing platform as its vast popularity allows him to reach out to a large audience across different demographics without having to worry about having his ideas stolen. He highly values the way YouTube has made it easy to report stolen videos or unapproved reuploads in order to protect his channel. This provides him a safe space for both himself and his viewers, whereby searching for Zukie on YouTube would mean getting the real deal, which would allow his channel to grow more. More than just comedic timing for Zukieee Zukieee 35 YouTube:TheMalaysianStory

20. 20. YouTube:TheMalaysianStory 36 As one of Malaysia's notable comedic car enthusiast personalities in the vein of Top Gear, Hee Wei Seng's channel features car modifications, heart-wrenching stunts and rubber- burning challenges. When he's not doing donuts with his race cars, Wei Seng also explores his funny side with occasional comedy shorts. Wei Seng has long held onto a childhood dream of becoming an actor, and found his medium to entertain when he stumbled upon YouTube. Before venturing into car-centric content, he directed his own short films as a way to explore his interest in acting. As his interests evolved, so did his channel. As a motoring sports enthusiast, Wei Seng is thankful for the opportunities he's gained from being part of the YouTube community. It has allowed him to reach an international audience, flying him from place to place to meet up with car enthusiasts and professionals around the world. "I started my channel because I had a dream as a child to make it as an actor. When I made my first film, the only available platform I had was YouTube so I uploaded it there and the rest was history," said Wei Seng. "YouTube has allowed me to meet a lot of professionals around the world, from modified car enthusiasts to car technicians and more. Without YouTube, the world would never be able to see my works and I would never have been able to get my work out there." Wei Seng takes it all in stride, and understands that creating videos for his fellow car fans is still at the core of who he is. He is glad to have had the chance to show the world his work, and his persistence in making videos weekly has opened many doors to new collaborations and sponsorships. Hee Wei Seng puts the pedal to the metal Hee Wei Seng 37

21. 21. YouTube:TheMalaysianStory 39 YouTube:TheMalaysianStory 38 Jenn Chia Multi-talented creator Jenn Chia, who's famously known just by her channel name SoImJenn, uses her channel to encourage her followers to be the best version of themselves. Her brand name can best be summarised by her end tag - "You be You" - a perfect reflection of her content, which encourages her viewers to be true to who they are. "After a couple of years creating videos, I realise that my content revolves around one theme - being true to who you are. I want my channel and voice to empower and inspire my supporters to have the courage to be who they are or want to be," shared Jenn. Starting off her YouTube journey through music, Jenn initially uploaded her original compositions on YouTube. But she eventually realized that sharing an idea or a story on the platform would better enable her to connect with other people on a personal level. That's why she branched out, expanding her channel to include comedy skits, makeup tutorials, and travel vlogs. "I never had a digital strategy with YouTube. I uploaded my first video without any expectations other than to share my experiences through music. I continued uploading videos to connect with my audience, share my stories or simply to entertain them." Jenn's channel is her personal gallery. Although she enjoys creating content, her YouTube channel also serves as a great place to store her memories of her YouTube journey and reflect on the content she's created. That being said, her ultimate goal is for her to empower every single one of her 58,000 followers with the courage to be themselves. A creator with an empowering message

22. 22. YouTube:TheMalaysianStory YouTube:TheMalaysianStory 40 41 Cupcake Aisyah Aisyah started experimenting with videos on 'live' social video platforms. However, a growing interest in her beauty and fashion-oriented content motivated her to start posting more permanent videos on YouTube in 2015. Despite a massive following on her social media accounts, YouTube is Aisyah's top choice as she believes that it is her generation's version of TV. YouTube has allowed Aisyah to not only build her personal brand, but also to help other brands elevate their marketing campaigns. With her channel's recent growth, Aisyah is becoming increasingly influential with many opportunities coming her way, including a promotional campaign with McDonald's. As such, she strives to stay authentic by only working with brands that are appropriate to be featured on her channel. Cupcake Aisyah shares sweet tips on YouTube First introduced as TryMasak in 2008, iCookAsia is YouTube's first Malaysian recipe channel. Initially focused on sharing recipes for good ol' home-made local dishes, the channel has since uploaded over 2,000 videos of recipes from Malaysia as well as other countries across Asia. iCookAsia's catalog of videos covers a variety of styles - from straight-up step-by-step recipes, to food reviews and chef highlights. iCookAsia also doubles as a digital agency specializing in helping food & beverage brands such as Delicious and Yakult to increase their audience and engagement on social media. This combination of communal spirit and their consistent showcase of diverse recipes in an easy-to-follow format has garnered them a following of over 175,000 subscribers. Previously known as EC Inspirasi on UnifiTV when they first launched in 2012, Inspirasi is a family-friendly channel that features food-inspired lifestyle content. Along with many delicious recipe videos, the channel features occasional appearances by celebrities who share tips and tricks on executing the perfect meal. With a multitude of shows produced on Inspirasi, fan favourites such as #BakarInspirasi, Aroma Masak and #BujangSenang aim to be relatable to fellow Malaysians who may find it difficult to set time or money aside to figure out meal ideas. As the self-proclaimed first dedicated youth TV channel in Malaysia, Inspirasi looks to whet appetites for more than just food, with film reviews, fashion tutorials and holiday destinations. The diversity and consistency of quality in content that Inspirasi puts out are certainly big drivers of its 156,000 subscriber base. iCookAsia Inspirasi Spreading good vibes through good food Inspiring appetites and foodies alike

23. 23. YouTube:TheMalaysianStory 42 YouTube is the place where everyone can explore their passion. Awesome Toys is the go-to channel for geeky collectibles - from custom die-cast model cars to DIY anime robot figures, and everything in between - with an eye on the latest sought-after releases, collection highlights, as well as toy reviews catering to collectors of all ages. As collectors themselves, co-founder Peter Loo and his fellow Awesome Toys team were always looking for the latest news on all things toys, but found that there weren't enough resources catering to Malaysian collectors. Therefore, they started Awesome Toys as an information hub for the community, but the process of growing their channel was not without its challenges. "When we just started on YouTube, there was not much of a local support that we could find. We just observed what others were doing and learn from them. As with the recent changes and growth in the YouTube community, the popularity of the platform has ensured our brand name to become synonymous with being the premier toy channel across the globe!" said Peter. Through content such as collector showcases, on-ground coverage of toy conferences, as well as in-depth reviews of the latest products, they were able to gradually grow the channel to over 27,000 subscribers and gained over 10 million views within the span of four years. "YouTube is our core channel to showcase our content and videos. We regularly see 4 to 5 million impressions from YouTube recommending our content to viewers, and that has really helped us to build our fan base." As they continue to build their brand and content off the platform, Awesome Toys has bigger ambitions. Dubbing themselves part of the community of geeks in Malaysia, the channel aims to put out more than just toy collecting by introducing a series of geeky platforms such as a film review channel and a toy photography page for their fans. Malaysia's own curators of collectibles for the young at heart Awesome Toys 43 YouTube:TheMalaysianStory

24. 24. YouTube:TheMalaysianStory 45 YouTube:TheMalaysianStory 44 06 Malaysians use YouTube as a learning tool

25. 25. YouTube:TheMalaysianStory YouTube:TheMalaysianStory 46 47 Malaysians are using YouTube to learn and follow their passions. Simply choose a subject or topic - whether it be a foreign language, science, mathematics, swimming, guitar, or golf - and you'll find endless learning materials. 13 YouTube Internal Data, GLOBAL, Q3 2017 14 Ipsos YouTube User Profiling Study, TW, June 2018 Funded and run by the BAC Education Group, BACfreeschool is a Malaysian channel dedicated to providing free educational resources for students across the nation. Since its inception in 2012, the channel has developed a variety of both fun and curriculum-specific videos to help primary and secondary school students revise and brush up on school work. Featuring a combination of videos with advice from professional mentors and tips on tackling examinations, BACfreeschool also explores a more interactive side of education through livestream sessions to allow students to post their questions and get advice on the spot. By providing students with the extra learning edge at an added convenience, it is a niche that certainly inspires educators and students alike. By marrying tech and education, BACfreeschool has built an engaged audience of over 52,000 subscribers. Creators of accessible e-learning

26. 26. YouTube:TheMalaysianStory YouTube:TheMalaysianStory 48 4948 Financial advisor Spark Liang started his channel in 2009 to showcase his music covers and hobbies before realizing that there was a lack of financial know-how and resources for Malaysian millennials. Wanting to share his expertise with his peers, Spark started making a series of videos about various topics relating to financial education and planning. By keeping himself and his audience informed, Spark dives into topics that many are afraid to ask or are unsure about in personal finances. Whether it's about doing your taxes, applying for house loans, saving for retirement or basic budget planning, Spark has it all covered in his weekly videos. Spark currently has over 105,000 subscribers who make up the community of financially savvy youths that tune in weekly for an electrifying dose of fiscal education. Cashing in with the right financial education Spark Liang YouTube Kids is an app for kids and their parents. Available in 37 countries including Malaysia, we created YouTube Kids to make it safer and simpler for kids to explore the world through online video - from their favorite shows and music to learning how to build a model volcano. YouTube Kids is used by more than 11 million users weekly with the app's aggregate views reaching 70 billion. Parents can set age-wise authorization to ensure age-appropriate content is shown on the app. They can also build a watching environment suitable for their children by setting a timer and allowing or blocking the search function. A safer online experience for children - YouTube Kids

27. 27. YouTube:TheMalaysianStory 50 In 2018, Cartoon Hooligans - the very first Malaysian YouTube channel to hit 1 million subscribers - collaborated with Google and telco service provider Digi on a series of educational animated shorts focused on teaching kids about internet safety and empowering them with ways to react appropriately and confidently. Using localized takes on popular superhero characters and modelled after Google's Be Internet Awesome program, the five-part Yellow Heart Cyber Series tackled issues such as cyberbullying and online grooming, some through relatable everyday moments and others through situations that they may have read or heard about. The videos also formed the basis of Digi's 'CyberSafe in Schools' competition for 2018. Organized annually by the company in collaboration with the Ministry of Education and Cybersecurity Malaysia, the competition challenged public school students all across Malaysia to test their understanding of the topics highlighted in the series through a quiz. Participants can also choose to submit a captioned photo of themselves teaching the lessons to an adult. After wrapping up on September 30th, the results were found to be very encouraging: more than 16,000 students from a total of 174 schools took part in the competition over the 1-month period it was in effect. The series itself pulled in a collective of more than 316,000 views, which speaks volumes about how education can be appealing when packaged in the right way. Educating the youth through entertainment 51 Cartoon Hooligans

28. 28. YouTube:TheMalaysianStory 53 YouTube:TheMalaysianStory 52 07 Creators for Change

29. 29. YouTube:TheMalaysianStory YouTube:TheMalaysianStory 54 55 YouTube Creators for Change is a global program dedicated to amplifying the voices of YouTube role models who are tackling social issues with their YouTube channels. YouTube is creating a healthy content ecosystem in Malaysia YouTube is heavily investing in technology to allow Malaysian creators to deliver their stories to people all around the world through the free platform, as well as in creating an ecosystem to help creators express their creativity and build their professional career. YouTube Creator Workshops, 1:1 support from YouTube partner managers, and networking events are in place to assist content creators in Malaysia. The YouTube Creator Academy helps emerging creators in Malaysia understand YouTube and make use of this platform. In doing so, YouTube offers free online training materials, best practices and success strategies designed to polish their operational skills on YouTube. YouTube also offers a range of face to face training opportunities to help creators grow and connect themselves with each other, such as the YouTube Creator Workshop focusing on content strategies and channel branding as well as Creator Collaboration Days and Partner Summits. Initiated in Malaysia in 2016, YouTube Week is a celebration of the nation's creators, brands, media, and creative agencies that have made a mark on the platform. During the celebration, YouTube runs workshops to help creators learn about channel management strategies as well as various content development ideas. The year's YouTube Week is the biggest we've ever organised, featuring a fan-friendly YouTube Showcase performance where fans will see the live shows prepared by creators. YouTube offers a range of online and offline support to help talented creators develop quality content, attract subscribers all over the world, and grow a stable business.

30. 30. YouTube:TheMalaysianStory 56 57 The program started in 2016 with the goal of championing creators with big ideas to help counter issues like extremism and hate with content promoting positive values like respect, diversity and pluralism. Video has enormous power to inspire people, to increase understanding, and to develop empathy. YouTube creators have long known the power of video to express themselves, encourage new perspectives, and inspire solidarity within global fan bases. In fact, over half of our millennial subscribers have said a YouTube creator has changed their life. Creators have also pioneered new forms of advocacy through YouTube - through videos, communities have come together to spur positive change on the issues that matter to them. Last year, Creators for Change generated 55 thought-provoking videos to combat hate and promote tolerance that collectively garnered over 731,000 hours of watchtime. ​Across more than 200 locations over 14​,​000 young people participated in Creators​for Change ​workshops on how to combat hate online​.14 In May this year, YouTube announced 47 creators as its 2018 class of Ambassadors. These Ambassadors, who were chosen for their passion and dedication in creating social change, come from over 16 countries and represent a combined audience of 20 million fans.15 Malaysian creator the TheMingThing is one of 47 creators worldwide to be selected as a Creators for Change Ambassador. The Ming Thing channel was formed by a couple of friends who wanted to do something more with their love for filming and storytelling. What started out as a platform for simple vlogs slowly grew into a whole platform for content with a goal to both entertain and put out a good message in the form of short stories, sketches and much more. As part of our US$5 million investment in this program, these creators will receive support from YouTube through a combination of project funding, mentorship opportunities, and ongoing production assistance at our YouTube Spaces. They also joined us for our second annual Social Impact Camp at YouTube Space London this summer. The Social Impact Camp is an exclusive two-day-long camp featuring inspirational speakers, video production workshops, and mentorship opportunities with experts as well as time for the Ambassadors to connect with one another. We've also joined forces with the United Nations Development Programme (UNDP) and social change agency Love Frankie to support YouTube creators from the Asia-Pacific region who are passionate about creating social impact and tackling tough issues through their videos. The partnership included a series of Boot Camps in Malaysia, Australia, Indonesia, Philippines and Thailand between June - November 2018 where local creators worked on content about local issues alongside experts such as NGOs, academic authorities, and subject matter specialists. Promoting positive values online 14 YouTube Creators for Change Yearly Report, Global, 2016 - 2017 15 YouTube Creators For Change Official Blog, May 2018 Following these Boot Camps, UNDP and YouTube have selected a group of Creators for Change Fellows, based on the most successful video projects highlighting social issues affecting communities - such as xenophobia, intolerance, and cyberbullying - with the aim to promote tolerance and positivity online. The Fellows will participate in a three-month Academy Program that includes mentoring from Creators for Change Ambassadors, local experts, and NGOs to help produce informed, high-quality content that resonates in their countries. We are delighted that two Malaysian creators - The Salad Show and Vikarworld - were selected to be part of this programme. The Salad Show currently has over 12k subscribers and creates short comic sketches and films. Together with Projek Dialog, an organisation that opens up discussions about the socio-political state of culture and religion in Malaysia, the Salad Show's video will explore how racial stereotypes can lead to xenophobia. Musical entertainment and parody channel Vikarworld will be creating a video to help their 70k subscribers understand why people turn to terrorism, in partnership with the Southeast Asia Regional Centre for Counter Terrorism (SEARCCT). Through composing a rap song and music video, the project hopes to contrast the views of an ordinary civilian and those of a terrorist to explore the repercussions when people commit violent acts. The MingThing

31. 31. YouTube:TheMalaysianStory 59 YouTube:TheMalaysianStory 58 08 Traditional content owners are also using YouTube to promote their content and earn additional revenues

32. 32. YouTube:TheMalaysianStory YouTube:TheMalaysianStory 60 61 YouTube is a new medium for Malaysians to read news and search for information. Traditional content producers such as printed media and movie makers attract new consumers and generate additional revenues by producing content tailored to YouTube users and making changes in how they deliver their content. We believe in the importance of quality journalism and our responsibility to support innovation in products and funding for news. YouTube users often come to YouTube to learn about developing events and engage with channels from local and international news publishers. To ensure they get diverse and authoritative news results, especially during fast- moving, breaking news events, YouTube has been investing in a number of initiatives and product innovations. To improve the news experience on the platform and make credible sources more readily accessible to users, we recently rolled out the Breaking News and Top News features to viewers in Malaysia. When a breaking news event happens, this feature will highlight videos and news sources from local news organizations directly on the YouTube homepage. Working alongside publishers, we've also launched Player for Publishers, a solution that enables news organizations to use YouTube's video player to give viewers a world-class video experience across their own websites and mobile apps. Player for Publishers already reduces costs and offers improved monetization for over 100 publishers in more than 25 countries. Media Prima Berhad, Malaysia's largest integrated media group, is now working with YouTube through the Player for Publishers service. This will enable Media Prima to reach more viewers and access greater monetisation opportunities by consolidating its online video content through YouTube's video streaming service. The collaboration - in-line with the Group's transformation to become Malaysia's leading digital-first content and commerce company - will see all Media Prima video content (more than thirty years' worth) available on YouTube. It will also enable the Group to reduce costs by embedding YouTube's video player across its platforms, while giving audiences a better video viewing experience of its popular content across multiple devices. This move will allow Media Prima to generate sustainable revenue through programmatic advertising, one of the fastest growing digital revenue segments. Consuming news and supporting quality journalism 16 Media Prima Press release, 7th August 2018, https://bit.ly/2JXPeHj

33. 33. YouTube:TheMalaysianStory YouTube:TheMalaysianStory 62 63 The popularity of the YouTube platform has opened up new audiences and important new revenue streams for traditional content industries. 20 Mia, "Google Follows Through: What's Being Taught in a College YouTuber Course? Associate Professor Explains," Inside, July 13, 2018, https://www.inside.com.tw/2018/07/13/youtuber-courses. Film Industry Movie studios have harnessed the power of YouTube to promote the release of feature films. Malaysian film studios like Astro Shaw use their YouTube channels to promote trailers and previews, like the theatrical trailer for Hantu Kak Limah. That trailer alone has been viewed over 5.7 million times, and was distributed freely through YouTube. This content is easily shareable on social media, and plays a significant role in building hype before the release of a film. YouTube has signed partnership agreements not only with major labels but also hundreds of copyright associations, independent labels and music publishers, helping artists succeed on YouTube. Under the license agreements and based on the profit-sharing tool offered by YouTube, rights holders are paid money from revenues coming from ads put on their music videos. YouTube has paid out over US$6 billion to the music industry. In fact, half the revenues the industry earns on YouTube come from content uploaded by fans. Music industry

34. 34. YouTube:TheMalaysianStory 65 YouTube:TheMalaysianStory 64 09 Content ID protects copyright on YouTube

35. 35. YouTube:TheMalaysianStory YouTube:TheMalaysianStory 66 67 Content ID is YouTube's proprietary copyright management system. It is a web-based tool that allows rightsholders to protect and monetise their content on YouTube. Rightsholders can use Content ID to identify user- uploaded videos containing their content, and choose whether to monetise, track or block that content. Any of these actions can be country-specific. For example, a content owner may choose to monetise a video in one country, and block or track in another. Content ID works by scanning videos uploaded to YouTube against more than 600 years of audio and visual reference content. It then applies the rightholders' preferred action. YouTube has more than 65 million active reference files in our Content ID database as of February 2017, making it the most comprehensive in the world. The vast majority of rightsholders - more than 90 per cent - choose to monetise their claims, leaving their content up on YouTube. That means that users benefit as well - they get to continue to freely remix and upload their new creations that use existing works. In the music industry, 99.5 percent of reported sound recording copyright claims are automated through Content ID. Since launching Content ID in 2007, over 600 million videos have been claimed by partners, and YouTube has paid out more than US$3 billion to rightsholders who have opted to monetise their content through Content ID. Allow users to view the video and display advertisements with it. Allow users to view the video without advertisements; collect statistics about video views. Don't allow users to view the video on YouTube. 21 YouTube Internal Data, GlOBAL, Jan 2018

36. 36. YouTube:TheMalaysianStory 69 YouTube:TheMalaysianStory 68 10 YouTube Community Guidelines

37. 37. YouTube:TheMalaysianStory YouTube:TheMalaysianStory 70 71 You might not like everything you see on YouTube and we have set ground rules to keep YouTube safe and fun for everyone. If a user feels that content is inappropriate, they can use the flagging feature to submit content for review by our YouTube staff. YouTube's has dedicated teams that carefully review flagged content 24 hours a day, 7 days a week to determine whether there's a violation of our Community Guidelines. Copyright on YouTube We take copyright seriously and we expect our users to do the same. That means users not uploading videos that they didn't make, or using content in videos that someone else owns the copyright to, without necessary authorisations. Our YouTube Copyright webpage17 contains more information on the ground rules. Harmful or dangerous content We don't allow users to post videos that encourage others to do things that might cause them to get badly hurt, especially kids. Videos showing such harmful or dangerous acts may get age-restricted or removed depending on their severity. YouTube Community Guidelines enforcement YouTube relies on a combination of people and technology to flag inappropriate content and enforce YouTube's Community Guidelines at scale. Between January and March 2018, a total of 9,790,082 YouTube videos were removed from YouTube after being deemed in violation of our policies. Of these, over 7 million videos removed were first detected via our automated flagging systems. YouTube's automated flagging technology enables YouTube to act more quickly to enforce our policies. In nearly three quarters of the videos removed that were detected by our automated systems, they were removed prior to any viewing. 17 Copyright on YouTube https://www.youtube.com/yt/about/copyright/#support-and-troubleshooting Hateful content YouTube is a platform for free expression, but we don't support content that promotes or condones violence against individuals or groups, based on race or ethnic origin, religion, disability, gender, age, nationality, veteran status, or sexual orientation/gender identity, or whose primary purpose is inciting hatred on the basis of these core characteristics. This can be a delicate balancing act, but if the primary purpose is to attack a protected group, the content crosses the line. Threats We take things like predatory behavior, stalking, threats, harassment, intimidation, invading privacy, revealing other people's personal information, and inciting others to commit violent acts or to violate the YouTube Terms of Use very seriously. Anyone caught doing these things may be permanently banned from YouTube. Nudity or sexual content YouTube is not for pornography or sexually explicit content. We also work closely with law enforcement and we report child exploitation.

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Published on This is YouTube: The Malaysian Story. 2018 mark six years since we launched the YouTube Partner Program in Malaysia, the YouTube community is now truly more vibrant and diverse than ever. And we couldn't be more proud of what our Malaysian creators and partners have achieved. 1.

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What are Malaysians watching on YouTube?

There's no denying that Malaysians love watching YouTube videos. In fact, you've probably just finished watching a YouTube video (or two) before you started reading this article, right? Seeing that we can't live a day without indulging in random videos on YouTube, Google Malaysia and TNS Research have collaborated with each other to find out just how much Malaysians love their YouTube videos.

And to do so, both TNS Research and Google Malaysia conducted interviews with 1,000 different Malaysians between the age of 16 to 64, probing them with questions involving their YouTube viewing habits across both mobile and desktop devices, including their preferred viewing times, favorite genre, session lengths, and even sharing habits.

The results? More than 85 percent of respondents said that they prefer watching YouTube videos on their mobile devices, and that their YouTube-watching sessions tend to last for 80 minutes on average - doubling the global average of 40 minutes. Whether that's an achievement worth celebrating is entirely at your discretion.

That being said, 80 minutes is actually a really long time to be fixated at a considerably small screen, which leads us to the next question: Exactly what kind of videos are being watched in those 80 minutes? Well, mostly those belonging to the entertainment category, such as music videos, comedy sketches, and movies. How-to videos are highly popular too, along with movie trailers and other lifestyle-related videos.

But what's particularly noteworthy about the study, is that 55 percent of the Malaysians surveyed mentioned that they rather get their dose of entertainment through YouTube than cable/broadcast TV. Not all that surprising, really, as YouTube is all about providing its users with the power to decide what videos to watch, and the freedom to watch them whenever and wherever they want to. You won't get that kind of leeway while watching conventional broadcast media, that's for sure.

As a matter of fact, 74 percent of the respondents agreed that they could find much more interesting content on YouTube than on standard TV. To make matters worse, the study also found that 16 to 34-year-old Malaysians are watching YouTube videos more frequently than they do the TV on a monthly basis. That doesn't necessarily mean that YouTube isn't popular with the elders though, as half of the 55 to 64-year-olds that were surveyed said they were avid YouTube watchers.

So, are you part of TNS Research and Google Malaysia's statistics?

For more on Google, please follow us here.

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What are Malaysians watching on YouTube?

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A few months ago, TNS Research and Google Malaysia interviewed 1,000 Malaysians between the age of 16 to 64 to find out more about their YouTube viewing habits, which include the average duration of their YouTube sessions. Check out the complete results of their survey here.

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Social Media Research Trends in Malaysia

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As of January 2020, about 81 percent of the Malaysian population were active social media users. This was about a one-third increase compared to 2016, in which the social media users amounted to approximately 60 percent of the total population in Malaysia. Among all social media platforms available there, Facebook was the leading social media platform.
Facebook's popularity in Malaysia
The most popular social media platforms among users in Malaysia in 2020 were Facebook, Instagram, Facebook Messenger, and LinkedIn. Since its launch in 2004, Facebook has become the most widely used social media platform among social media users in Malaysia. It was projected that Facebook's penetration rate in Malaysia would reach up to 70 to 71 percent in the coming years. In addition, considering the continual growth of interest in Facebook among social media users, it is estimated that the number of Facebook users in Malaysia would be at approximately 24 million in 2023.
Social media addiction
Social media addiction is a behavioral addiction relating to individual's attachment to social media. The symptoms of this type of addiction includes mood swings caused by what the individual is experiencing on social media. Regardless of the platform used, most Malaysians felt that social media contributed to the state of their happiness and thought that it was difficult for them to quit using social media.

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Malaysia: social media penetration 2020 | Statista

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As of January 2020, about 81 percent of the Malaysian population were active social media users. This was about a one-third increase compared to 2016, in which the social media users amounted to approximately 60 percent of the total population in Malaysia. Among all social media platforms available there, Facebook was the leading social media platform.

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The social networking website Facebook has established itself as the premier social networking website, according to the technology review website Social Media Today. Facebook critics decry a number of issues stemming from social networking in general, such as fears of the loss of privacy. Although Facebook has benefits and disadvantages, it can be an indispensable tool for business users.

Tip

Interested in what some political leaders think? Hillary Clinton gave a speech on Facebook advantages and disadvantages not too long ago.

Although critics claim that Facebook isolates people from one another by putting users behind a computer screen, an article in Psychology Today explains that Facebook allows members to quickly and efficiently exchange information they once held private. For business users, this open communication channel means that customers can ask questions they may feel uncomfortable asking in person or even over the phone. In addition, the nearly real-time communication facilities available on Facebook allow business owners to provide customer service and answer sales questions directly though the social networking service.

Networking has always been a key component of business, but Facebook's massive social network contains significant resources for people seeking exposure. With just a few keystrokes, business owners can quickly update key contacts, suppliers, investors and high-value customers. When publicly posting news about a company's services or offerings, though, users should remain aware that competitors can see this information; for this reason, business owners should use discretion with sharing information on Facebook pages.

Facebook offers a number of benefits to marketing professionals and small business owners alike. With its massive user base, Facebook gives marketers a nearly limitless audience for commercial messages. In addition, Facebook ad tools allow business users to target message delivery using a variety of demographic information that ranges from geographic location to age, relationship status and even sexual preference. Facebook also provides an array of analytical tools that marketers can use to gauge advertising effectiveness and adjust ads as necessary.

Just as business owners must remember that competitors can see publicly posted information, savvy entrepreneurs can use the service's public communication venues to research offers from other companies. Some organizations use Facebook pages to post newsletters and other updates, and business owners can use this information to keep abreast of competitor activity. In addition, Facebook users frequently share interesting details about their lives with hundreds of friends; business owners can use this information to keep track of popular culture and emerging trends. By staying up to date on customer interests, businesses can adapt to changing environments.

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What Are the Benefits of Facebook?. The social networking website Facebook has established itself as the premier social networking website, according to the technology review website Social Media Today. Though Facebook critics decry a number of issues stemming from social networking in general, Facebook provides a ...

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Social media is defined by its interactivity, connectedness, and user-generated content. In today's society, the use of social media has become a necessary daily activity. Social media is typically used for social interaction and access to news and information, and decision making. It is a valuable communication tool with others locally and worldwide, as well as to share, create, and spread information. Social media can influence consumer's purchase decisions through reviews, marketing tactics and advertising. Essentially, social media vastly impacts our ability to communicate, form relationships, access and spread information, and to arrive at the best decision.

Perhaps the most influential social media tool is social networking sites. Facebook, Twitter, Tumblr, Blogger, LinkedIn, and Google + are all familiar names to the large majority of society; active social media user or not. Almost everyone from the ages of 13 to 64 has a Facebook account. These social networking sites can be used to connect people worldwide. This means that business meetings can be conducted internationally via Google Hangouts or old friends can reconnect. For businesses, schools, and various other groups, the communication possibilities are endless.

These social networking sites have increasingly grown beyond personal use. Recently, employers have begun using social networking sites to examine the background of their prospective candidates, as well as to host interviews via Facebook or other social media technology tools. Groups can schedule virtual meetings or brainstorm together even when they can't physically meet. This eases the scheduling pressures for school projects and board meetings. It goes without saying that we as a society have a grown reliant and dependent on social networking sites. Overall, we rely on social networks for connectivity and primary communication in today's world.

One of the largest industries that social media has had an effect on is news and journalism. Since, the internet is now the fastest and easiest way to get news, print media is diminishing and publications are being forced to post their articles online. Another effect of this advanced technology is that virtually anyone can now deem themselves a "journalist" and produce news that they feel is accurate and credible. Almost instantly we can create, share, and spread newsworthy or gossip stories across the globe. Social media has only made this easier. Top news stories are being broken via Twitter and other social networking sites and people worldwide are made aware of them almost instantaneously. The power of social media has allowed our society to be much more knowledgeable of worldwide affairs and news.

According to the Nielsen Social Media Report, active social media users have a higher likelihood of being influenced offline. Social media is now beginning to impact its' users' decision making processes. Reviews and blogs are posted constantly describing colleges, restaurants, products, companies, etc. Some people have learned to rely on these reviews to make their decisions. For example, Johns Hopkins University created "Hopkins Interactive" which is a social media site designed by current students for prospective students. On this site, prospective students can see the unedited versions of students' experiences at Hopkins. Prospective students visit this site to get the behind the scenes look of the school and to determine if the school is right for them.

In addition, social media tools have become the new must have tool in the marketing world. Digital and internet marketing are on the rise, and those with no presence on social media will slowly become extinct. Entrepreneurs and small business owners are beginning to rely on social media sites to spread the word about their companies. Internet marketing at this point is almost synonymous with social media because it is almost guaranteed to reach the largest audience and produce the greatest effects. The future of the marketing world promises to be shaped by social media.

The possibilities are seemingly endless for social media. It is uncommon for people to go a day without using or referring to social media. Whether it is used for communicating, learning, or decision making, social media is here to stay and will continue to affect our society.

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Reliance on Social Media in Today's Society - Digital Marketing Blog

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Social media is defined by its interactivity, connectedness, and user-generated content. In today's society, the use of social media has become a necessary daily activity. Social media is typically used for social interaction and access to news and information, and decision making.

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X axis = Top Social Media Platforms in Malaysia 2019

Y axis = Number of active social Media users

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Malaysia Digital Marketing Statistics 2020 -

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Want to know more about Malaysia's Digital Marketing industry? Get these free insights on Malaysia's Digital Marketing Statistics 2020 today!

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Social Media in Asia_ Changing Paradigms of Communication - Google Books - Google Chrome 1_11_2020 4_06_45 PM

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Published on

Everything you need to know about mobile, internet, social media, and e-commerce use in Malaysia in 2019. For more reports, including the latest global trends and individual data for more than 230 countries around the world, visit https://datareportal.com/

1. 1. DIGITAL2019 ALL THE DATA AND TRENDS YOU NEED TO UNDERSTAND INTERNET, SOCIAL MEDIA, MOBILE, AND E-COMMERCE BEHAVIOURS IN 2019 MALAYSIA

2. 2. CLICK HERE TO READ OUR DIGITAL 2019 GLOBAL OVERVIEW REPORT, WITH MORE THAN 200 PAGES OF ESSENTIAL CHARTS AND INSIGHTS FROM AROUND THE WORLD CLICK HERE TO READ OUR DIGITAL 2019 GLOBAL DIGITAL YEARBOOK, WITH ESSENTIAL HEADLINE DIGITAL DATA FOR EVERY COUNTRY IN THE WORLD ALL THE DATA AND TRENDS YOU NEED TO UNDERSTAND INTERNET, SOCIAL MEDIA, MOBILE, AND E-COMMERCE BEHAVIOURS IN 2019 DIGITAL2019 ESSENTIAL DIGITAL DATA FOR EVERY COUNTRY IN THE WORLD DIGITAL2019 GLOBAL DIGITAL YEARBOOK

3. 3. CLICK THE LINKS BELOW TO ACCESS OUR IN-DEPTH LOCAL REPORTS GLOBAL OVERVIEW BOTSWANA DJIBOUTI GUINEA LESOTHO NEPAL ST. KITTS & NEVIS TAJIKISTAN DIGITAL YEARBOOK BRAZIL DOMINICA GUINEA-BISSAU LIBERIA NETHERLANDS ST. LUCIA TANZANIA ABKHAZIA BRITISH VIRGIN IS. DOMINICAN REP. GUYANA LIBYA NEW CALEDONIA ST. MARTIN THAILAND AFGHANISTAN BRUNEI ECUADOR HAITI LIECHTENSTEIN NEW ZEALAND ST. PIERRE & MIQUELON TIMOR-LESTE ÅLAND IS. BULGARIA EGYPT HONDURAS LITHUANIA NICARAGUA ST. VINCENT & THE GRENADINES TOGO ALBANIA BURKINA FASO EL SALVADOR HONG KONG LUXEMBOURG NIGER SAMOA TOKELAU ALGERIA BURUNDI EQUATORIAL GUINEA HUNGARY MACAU NIGERIA SAN MARINO TONGA AMERICAN SAMOA CABO VERDE ERITREA ICELAND TFYR MACEDONIA NIUE SÃO TOMÉ & PRÍNCIPE TRANSNISTRIA ANDORRA CAMBODIA ESTONIA INDIA MADAGASCAR NORFOLK IS. SAUDI ARABIA TRINIDAD & TOBAGO ANGOLA CAMEROON ESWATINI INDONESIA MALAWI NORTHERN MARIANA IS. SENEGAL TUNISIA ANGUILLA CANADA ETHIOPIA IRAN MALAYSIA NORWAY SERBIA TURKEY ANTIGUA & BARBUDA CAYMAN IS. FALKLAND IS. IRAQ MALDIVES OMAN SEYCHELLES TURKMENISTAN ARGENTINA CENTRAL AFRICAN REP. FAROE IS. IRELAND MALI PAKISTAN SIERRA LEONE TURKS & CAICOS IS. ARMENIA CHAD FIJI ISLE OF MAN MALTA PALAU SINGAPORE TUVALU ARUBA CHILE FINLAND ISRAEL MARSHALL IS. PALESTINE ST. MAARTEN UGANDA AUSTRALIA CHINA FRANCE ITALY MARTINIQUE PANAMA SLOVAKIA UKRAINE AUSTRIA CHRISTMAS IS. FRENCH GUIANA JAMAICA MAURITANIA PAPUA NEW GUINEA SLOVENIA U.A.E. AZERBAIJAN COCOS (KEELING) IS. FRENCH POLYNESIA JAPAN MAURITIUS PARAGUAY SOLOMON IS. U.K. BAHAMAS COLOMBIA GABON JERSEY MAYOTTE PERU SOMALIA U.S.A. BAHRAIN COMOROS GAMBIA JORDAN MEXICO PHILIPPINES SOUTH AFRICA U.S. VIRGIN IS. BANGLADESH DEM. REP. OF CONGO GEORGIA KAZAKHSTAN MICRONESIA PITCAIRN IS. SOUTH SUDAN URUGUAY BARBADOS REP. OF CONGO GERMANY KENYA MOLDOVA POLAND SPAIN UZBEKISTAN BELARUS COOK IS. GHANA KIRIBATI MONACO PORTUGAL SRI LANKA VANUATU BELGIUM COSTA RICA GIBRALTAR NORTH KOREA MONGOLIA PUERTO RICO SUDAN VATICAN BELIZE CÔTE D'IVOIRE GREECE SOUTH KOREA MONTENEGRO QATAR SURINAME VENEZUELA BENIN CROATIA GREENLAND KOSOVO MONTSERRAT RÉUNION SVALBARD & JAN MAYEN VIETNAM BERMUDA CUBA GRENADA KUWAIT MOROCCO ROMANIA SWAZILAND WALLIS & FUTUNA BHUTAN CURAÇAO GUADELOUPE KYRGYZSTAN MOZAMBIQUE RUSSIAN FEDERATION SWEDEN WESTERN SAHARA BOLIVIA CYPRUS GUAM LAOS MYANMAR RWANDA SWITZERLAND YEMEN BONAIRE, ST. EUSTATIUS & SABA CZECH REP. GUATEMALA LATVIA NAMIBIA ST. BARTHÉLEMY SYRIA ZAMBIA BOSNIA & HERZEGOVINA DENMARK GUERNSEY LEBANON NAURU ST. HELENA TAIWAN ZIMBABWE

4. 4. 5 GLOBAL OVERVIEW

5. 5. 6 2019 JAN SOURCES: POPULATION: UNITED NATIONS; U.S. CENSUS BUREAU. MOBILE: GSMA INTELLIGENCE. INTERNET: INTERNETWORLDSTATS; ITU; WORLD BANK; CIA WORLD FACTBOOK; EUROSTAT; LOCAL GOVERNMENT BODIES AND REGULATORY AUTHORITIES; MIDEASTMEDIA.ORG; REPORTS IN REPUTABLE MEDIA. SOCIAL MEDIA: PLATFORMS' SELF-SERVE ADVERTISING TOOLS; PRESS RELEASES AND INVESTOR EARNINGS ANNOUNCEMENTS; ARAB SOCIAL MEDIA REPORT; TECHRASA; NIKI AGHAEI; ROSE.RU. (ALL LATEST AVAILABLE DATA IN JANUARY 2019). DIGITAL AROUND THE WORLD IN 2019 THE ESSENTIAL HEADLINE DATA YOU NEED TO UNDERSTAND GLOBAL MOBILE, INTERNET, AND SOCIAL MEDIA USE 7.676 5.112 4.388 3.484 3.256 56% 67% 57% 45% 42% BILLION BILLIONBILLIONBILLIONBILLION TOTAL POPULATION UNIQUE MOBILE USERS INTERNET USERS ACTIVE SOCIAL MEDIA USERS MOBILE SOCIAL MEDIA USERS URBANISATION: PENETRATION: PENETRATION: PENETRATION: PENETRATION:

6. 6. 7 2019 JAN SOURCES: POPULATION: UNITED NATIONS; U.S. CENSUS BUREAU. MOBILE: GSMA INTELLIGENCE. INTERNET: INTERNETWORLDSTATS; ITU; WORLD BANK; CIA WORLD FACTBOOK; EUROSTAT; LOCAL GOVERNMENT BODIES AND REGULATORY AUTHORITIES; MIDEASTMEDIA.ORG; REPORTS IN REPUTABLE MEDIA. SOCIAL MEDIA: PLATFORMS' SELF-SERVE ADVERTISING TOOLS; PRESS RELEASES AND INVESTOR EARNINGS ANNOUNCEMENTS; ARAB SOCIAL MEDIA REPORT; TECHRASA; NIKI AGHAEI; ROSE.RU. (ALL LATEST AVAILABLE DATA IN JANUARY 2019). ANNUAL DIGITAL GROWTH THE YEAR-ON-YEAR CHANGE IN KEY STATISTICAL INDICATORS +1.1% +2.0% +9.1% +9.0% +10% +84 MILLION +100 MILLION +367 MILLION +288 MILLION +297 MILLION JAN 2018 - JAN 2019 JAN 2018 - JAN 2019 JAN 2018 - JAN 2019 JAN 2018 - JAN 2019 JAN 2018 - JAN 2019 TOTAL POPULATION UNIQUE MOBILE USERS INTERNET USERS ACTIVE SOCIAL MEDIA USERS MOBILE SOCIAL MEDIA USERS

7. 7. 8 2019 JAN SOURCES: INTERNETWORLDSTATS; ITU; WORLD BANK; CIA WORLD FACTBOOK; LOCAL GOVERNMENT BODIES AND REGULATORY AUTHORITIES; MIDEASTMEDIA.ORG; REPORTS IN REPUTABLE MEDIA. NOTE: PENETRATION FIGURES ARE BASED ON TOTAL POPULATION, REGARDLESS OF AGE. REGIONS AS DEFINED BY THE UNITED NATIONS GEOSCHEME. OCEANIA SOUTHERN ASIA EASTERN ASIA CENTRAL ASIA WESTERN ASIA SOUTHERN AFRICA EASTERN AFRICA MIDDLE AFRICA WESTERN AFRICA NORTHERN AFRICA EASTERN EUROPE SOUTHERN EUROPE NORTHERN EUROPE WESTERN EUROPE SOUTHERN AMERICA CARIBBEAN CENTRAL AMERICA NORTHERN AMERICA SOUTH-EASTERN ASIA INTERNET PENETRATION BY REGION INTERNET USE BY REGION, COMPARING THE NUMBER OF INTERNET USERS TO TOTAL POPULATION (REGARDLESS OF AGE) 69% 63% 60% 42% 32% 51% 12% 66% 50% 80% 88% 95% 50% 41% 94% 51% 73% 63% 95%

8. 8. 9 2019 JAN SOURCES: LATEST DATA PUBLISHED BY SOCIAL MEDIA PLATFORMS VIA PRESS RELEASES, INVESTOR EARNINGS ANNOUNCEMENTS, AND IN SELF-SERVE ADVERTISING TOOLS; ARAB SOCIAL MEDIA REPORT; TECHRASA; NIKI AGHAEI; ROSE.RU; KEPIOS ANALYSIS. NOTE: PENETRATION FIGURES ARE BASED ON TOTAL POPULATION, REGARDLESS OF AGE. REGIONS AS DEFINED BY THE UNITED NATIONS GEOSCHEME. OCEANIA SOUTHERN ASIA EASTERN ASIA CENTRAL ASIA WESTERN ASIA EASTERN AFRICA MIDDLE AFRICA WESTERN AFRICA NORTHERN AFRICA EASTERN EUROPE SOUTHERN EUROPE NORTHERN EUROPE WESTERN EUROPE SOUTHERN AMERICA CARIBBEAN CENTRAL AMERICA NORTHERN AMERICA SOUTH-EASTERN ASIA SOUTHERN AFRICA SOCIAL MEDIA PENETRATION BY REGION BASED ON MONTHLY ACTIVE USERS OF THE MOST ACTIVE PLATFORMS IN EACH COUNTRY / TERRITORY, COMPARED TO TOTAL POPULATION 8% 38% 24% 57% 61% 70% 54% 16% 48% 7% 12% 40% 58%53% 67% 66% 46%62% 70%

9. 9. 10 2019 JAN SOURCES: KEPIOS ANALYSIS; LATEST COMPANY EARNINGS RELEASES, PRESS RELEASES OR MEDIA STATEMENTS; REPORTS IN REPUTABLE MEDIA (ALL UP TO JAN 2019). *ADVISORY: PLATFORMS IDENTIFIED BY (*) HAVE NOT PUBLISHED UPDATED USER FIGURES IN THE PAST 12 MONTHS, SO FIGURES MAY BE LESS RELIABLE. **NOTES: THESE PLATFORMS DO NOT PUBLISH MAU DATA. LINKEDIN FIGURE IS BASED ON MONTHLY UNIQUE WEBSITE VISITORS IN DEC 2018, VIA SIMILARWEB. SNAPCHAT FIGURE EXTRAPOLATED FROM DATA REPORTED IN TECHCRUNCH (JUN 2017). 2,271 1,900 1,500 1,300 1,083 1,000 803 531 500 446 326 330 320 303 300 300 287 260 250 194 QQ FACEBOOK YOUTUBE WHATSAPP FB MESSENGER WEIXIN / WECHAT INSTAGRAM QZONE DOUYIN / TIKTOK SINA WEIBO TWITTER REDDIT DOUBAN LINKEDIN** BAIDU TIEBA* SKYPE* SNAPCHAT** VIBER* PINTEREST LINE SOCIAL PLATFORMS: ACTIVE USER ACCOUNTS BASED ON MONTHLY ACTIVE USERS, USER ACCOUNTS, OR UNIQUE VISITORS TO EACH PLATFORM, IN MILLIONS SOCIAL NETWORK MESSENGER / VOIP

10. 10. 11 2019 JAN SOURCE: BASED ON SIMILARWEB'S ALGORITHM INTEGRATING CURRENT INSTALLS FROM THE GOOGLE PLAY STORE WITH ACTIVE APP USERS (DECEMBER 2018). NOTE: FIGURES IN PARENTHESES IN THE LEGEND REPRESENT THE NUMBER OF COUNTRIES / TERRITORIES IN WHICH EACH PLATFORM IS THE TOP-RANKED MESSENGER APP. WHATSAPP (133) FACEBOOK MESSENGER (75) VIBER (10) IMO (3) WECHAT (3) LINE (3) TELEGRAM (3) HANGOUTS (1) GOOGLE MESSAGES (1) KAKAOTALK (1) UNKNOWN (11) ZALO (1) TOP SOCIAL MESSENGERS AROUND THE WORLD THE MOST POPULAR MESSENGER APP BY COUNTRY / TERRITORY IN DECEMBER 2018

11. 11. 12 2019 JAN SOURCE: EXTRAPOLATED FROM FACEBOOK DATA (JANUARY 2019); KEPIOS ANALYSIS. NOTE: FACEBOOK DOES NOT PUBLISH AUDIENCE DATA FOR GENDERS OTHER THAN 'MALE' OR 'FEMALE'. 3% 11% 13% 7% 5% 3% 2% 4% 16% 19% 9% 5% 3% 2% SOCIAL MEDIA AUDIENCE PROFILE BASED ON THE COMBINED ADVERTISING AUDIENCES OF FACEBOOK, INSTAGRAM, AND FACEBOOK MESSENGER YEARS OLD YEARS OLDYEARS OLDYEARS OLDYEARS OLDYEARS OLDYEARS OLD 13 - 17 18 - 24 25 - 34 35 - 44 45 - 54 55 - 64 65+ FEMALE MALE

12. 12. 13 2019 JAN SOURCE: GSMA INTELLIGENCE (Q4 2018); KEPIOS ANALYSIS. NOTE: REGIONS AS DEFINED BY THE UNITED NATIONS GEOSCHEME. ADVISORY: MOBILE SUBSCRIPTIONS DO NOT REPRESENT UNIQUE INDIVIDUALS, SO FIGURES OVER 100% INDICATE MULTIPLE MOBILE SUBSCRIPTIONS PER PERSON. REGIONS AS DEFINED BY THE UNITED NATIONS GEOSCHEME. OCEANIA SOUTHERN ASIA EASTERN ASIA CENTRAL ASIA WESTERN ASIA SOUTHERN AFRICA EASTERN AFRICA MIDDLE AFRICA WESTERN AFRICA NORTHERN AFRICA EASTERN EUROPE SOUTHERN EUROPE NORTHERN EUROPE WESTERN EUROPE SOUTHERN AMERICA CARIBBEAN CENTRAL AMERICA NORTHERN AMERICA SOUTH-EASTERN ASIA MOBILE CONNECTIVITY BY REGION THE NUMBER OF MOBILE SUBSCRIPTIONS COMPARED TO TOTAL POPULATION (NOTE: NOT UNIQUE USERS) 108% 129% 111% 103% 91% 162% 62% 101% 53% 86% 102% 132% 154% 120% 116% 109% 73%96% 105%

13. 13. 14 MALAYSIA

14. 14. 15 2019 JAN SOURCES: POPULATION: UNITED NATIONS; U.S. CENSUS BUREAU. MOBILE: GSMA INTELLIGENCE. INTERNET: INTERNETWORLDSTATS; ITU; WORLD BANK; CIA WORLD FACTBOOK; EUROSTAT; LOCAL GOVERNMENT BODIES AND REGULATORY AUTHORITIES; MIDEASTMEDIA.ORG; REPORTS IN REPUTABLE MEDIA. SOCIAL MEDIA: PLATFORMS' SELF-SERVE ADVERTISING TOOLS; PRESS RELEASES AND INVESTOR EARNINGS ANNOUNCEMENTS; ARAB SOCIAL MEDIA REPORT; TECHRASA; NIKI AGHAEI; ROSE.RU. (ALL LATEST AVAILABLE DATA IN JANUARY 2019). THE ESSENTIAL HEADLINE DATA YOU NEED TO UNDERSTAND MOBILE, INTERNET, AND SOCIAL MEDIA USE MALAYSIA 32.25 40.24 25.84 25.00 24.00 MILLION MILLION MILLION MILLION MILLION 76% 125% 80% 78% 74% TOTAL POPULATION MOBILE SUBSCRIPTIONS INTERNET USERS ACTIVE SOCIAL MEDIA USERS MOBILE SOCIAL MEDIA USERS URBANISATION: vs. POPULATION: PENETRATION: PENETRATION: PENETRATION:

15. 15. 16 2019 JAN SOURCES: POPULATION: UNITED NATIONS; U.S. CENSUS BUREAU. MOBILE: GSMA INTELLIGENCE. INTERNET: INTERNETWORLDSTATS; ITU; WORLD BANK; CIA WORLD FACTBOOK; EUROSTAT; LOCAL GOVERNMENT BODIES AND REGULATORY AUTHORITIES; MIDEASTMEDIA.ORG; REPORTS IN REPUTABLE MEDIA. SOCIAL MEDIA: PLATFORMS' SELF-SERVE ADVERTISING TOOLS; PRESS RELEASES AND INVESTOR EARNINGS ANNOUNCEMENTS; ARAB SOCIAL MEDIA REPORT; TECHRASA; NIKI AGHAEI; ROSE.RU. (ALL LATEST AVAILABLE DATA IN JANUARY 2019). ANNUAL DIGITAL GROWTH THE YEAR-ON-YEAR CHANGE IN KEY STATISTICAL INDICATORS +1.3% +0.5% +3.0% +4.2% +9.1% +421 THOUSAND +205 THOUSAND +759 THOUSAND +1 MILLION +2 MILLION TOTAL POPULATION MOBILE SUBSCRIPTIONS INTERNET USERS ACTIVE SOCIAL MEDIA USERS MOBILE SOCIAL MEDIA USERS JAN 2018 - JAN 2019 JAN 2018 - JAN 2019 JAN 2018 - JAN 2019 JAN 2018 - JAN 2019 JAN 2018 - JAN 2019

16. 16. 17 2019 JAN SOURCES: UNITED NATIONS; U.S. CENSUS BUREAU; WORLD BANK; IMF; UNESCO; UNICEF; CIA WORLD FACTBOOK; PEW RESEARCH (ALL LATEST DATA AVAILABLE IN JANUARY 2019). *NOTE: 'INTERNATIONAL DOLLARS' ARE NOTIONAL MEASURES THAT PROVIDE A CONSISTENT BASIS FOR COMPARISON. AN 'INTERNATIONAL DOLLAR' WOULD BUY A COMPARABLE AMOUNT OF GOODS AND SERVICES IN THE CITED COUNTRY THAT A U.S. DOLLAR WOULD BUY IN THE UNITED STATES. OVERVIEW: POPULATION & ECONOMY ESSENTIAL DEMOGRAPHIC AND ECONOMIC INDICATORS 76% $29,431 93% 91% 95% 32.25 48.4% 51.6% +1.3% 29.9 MILLION TOTAL POPULATION FEMALE POPULATION MALE POPULATION ANNUAL CHANGE IN POPULATION SIZE MEDIAN AGE URBAN POPULATION GDP PER CAPITA (PPP) (CURRENT INTERNATIONAL $)* OVERALL LITERACY (ADULTS AGED 15+) FEMALE LITERACY (ADULTS AGED 15+) MALE LITERACY (ADULTS AGED 15+)

17. 17. 18 2019 JAN SOURCE: GOOGLE CONSUMER BAROMETER (COLLECTED JANUARY 2018). *NOTE: PLEASE SEE THE NOTES AT THE END OF THIS REPORT FOR MORE DETAILS OF HOW GOOGLE DEFINES 'ADULT POPULATION'. ADVISORY: GOOGLE HAS NOT UPDATED ITS CONSUMER BAROMETER DATA SINCE OUR 2018 REPORTS, BUT WE BELIEVE THAT THE DATASET STILL OFFERS REPRESENTATIVE INSIGHTS INTO DIGITAL BEHAVIOURS IN THE FEATURED MARKETS. DEVICE USAGE PERCENTAGE OF THE ADULT POPULATION* THAT USES EACH KIND OF DEVICE [SURVEY-BASED] 90% 8% 2% 12% 96% 88% 41% 18% MOBILE PHONE (ANY TYPE) SMART PHONE LAPTOP OR DESKTOP COMPUTER TABLET DEVICE TELEVISION (ANY KIND) DEVICE FOR STREAMING INTERNET CONTENT TO TV E-READER DEVICE WEARABLE TECH DEVICE

18. 18. 19 2019 JAN SOURCE: GLOBALWEBINDEX (Q2 & Q3 2018). FIGURES REPRESENT THE FINDINGS OF A BROAD SURVEY OF INTERNET USERS AGED 16-64. TIMES ARE DAILY AVERAGES, REPORTED IN HOURS AND MINUTES. NOTE: SOME ACTIVITIES MAY TAKE PLACE CONCURRENTLY. TIME SPENT WITH MEDIA AVERAGE DAILY TIME SPENT CONSUMING AND INTERACTING WITH MEDIA [SURVEY BASED] 8H 05M 2H 58M 2H 52M 1H 18M AVERAGE DAILY TIME SPENT USING THE INTERNET VIA ANY DEVICE AVERAGE DAILY TIME SPENT USING SOCIAL MEDIA VIA ANY DEVICE AVERAGE DAILY TV VIEWING TIME (BROADCAST, STREAMING AND VIDEO ON DEMAND) AVERAGE DAILY TIME SPENT LISTENING TO STREAMING MUSIC global web index

19. 19. 20 INTERNET USE

20. 20. 21 2019 JAN SOURCES: INTERNETWORLDSTATS; ITU; WORLD BANK; CIA WORLD FACTBOOK; LOCAL GOVERNMENT BODIES AND REGULATORY AUTHORITIES; MIDEASTMEDIA.ORG; REPORTS IN REPUTABLE MEDIA. MOBILE SHARE DATA: GLOBALWEBINDEX (Q2 & Q3 2018); AND EXTRAPOLATIONS OF DATA PUBLISHED BY THE WORLD'S LARGEST SOCIAL MEDIA PLATFORMS VIA EARNINGS RELEASES AND SELF-SERVE ADVERTISING TOOLS. GLOBALWEBINDEX FIGURES REPRESENT THE FINDINGS OF A BROAD SURVEY OF INTERNET USERS AGED 16-64. INTERNET USE: DEVICE PERSPECTIVE BASED ON ACTIVE INTERNET USER DATA, AND ACTIVE USE OF INTERNET-POWERED MOBILE SERVICES 25.84 80% 24.89 77% MILLION MILLION TOTAL NUMBER OF ACTIVE INTERNET USERS INTERNET USERS AS A PERCENTAGE OF TOTAL POPULATION TOTAL NUMBER OF ACTIVE MOBILE INTERNET USERS MOBILE INTERNET USERS AS A PERCENTAGE OF TOTAL POPULATION global web index

21. 21. 22 2019 JAN SOURCE: INTERNETWORLDSTATS; ITU; WORLD BANK; CIA WORLD FACTBOOK (ALL LATEST DATA AVAILABLE IN JANUARY 2019). INTERNET USERS: DIFFERENT PERSPECTIVES DIFFERENT PERSPECTIVES ON THE NUMBER OF INTERNET USERS, FROM SOME OF THE WORLD'S MOST COMPREHENSIVE STUDIES 25.08 25.84 25.84 24.38 MILLION MILLION MILLION MILLION INTERNET WORLD STATS ITU (INTERNATIONAL TELECOMMUNICATION UNION) WORLD BANK CIA WORLD FACTBOOK

22. 22. 23 2019 JAN SOURCE: GOOGLE CONSUMER BAROMETER (COLLECTED JANUARY 2018). ADVISORY: GOOGLE HAS NOT UPDATED ITS CONSUMER BAROMETER DATA SINCE OUR 2018 REPORTS, BUT WE BELIEVE THAT THE DATASET STILL OFFERS REPRESENTATIVE INSIGHTS INTO DIGITAL BEHAVIOURS IN THE FEATURED MARKETS. FREQUENCY OF INTERNET USE HOW OFTEN INTERNET USERS ACCESS THE INTERNET FOR PERSONAL REASONS (ANY DEVICE) 1 7 31 365 83% 11% 4% 1% EVERY DAY AT LEAST ONCE PER WEEK AT LEAST ONCE PER MONTH LESS THAN ONCE PER MONTH

23. 23. 24 2019 JAN SOURCE: OOKLA SPEEDTEST (DECEMBER 2018 AND DECEMBER 2017). INTERNET CONNECTION SPEEDS AVERAGE DOWNLOAD SPEEDS FOR MOBILE AND FIXED INTERNET CONNECTIONS, WITH YEAR-ON-YEAR COMPARISON MBPSMBPS 19.92 +25% 63.48 +187% AVERAGE SPEED OF MOBILE INTERNET CONNECTIONS YEAR-ON-YEAR CHANGE IN AVERAGE SPEED OF MOBILE INTERNET CONNECTIONS AVERAGE SPEED OF FIXED INTERNET CONNECTIONS YEAR-ON-YEAR CHANGE IN AVERAGE SPEED OF FIXED INTERNET CONNECTIONS

24. 24. 25 2019 JAN SOURCE: SIMILARWEB (JANUARY 2019). FIGURES BASED ON MONTHLY AVERAGES FOR Q4 2018. NOTES: 'MONTHLY TRAFFIC' DOES NOT REPRESENT UNIQUE VISITORS. 'TIME PER VISIT' FIGURES REPRESENT THE AVERAGE DURATION OF USERS' VISITS, MEASURED IN MINUTES AND SECONDS. ADVISORY: SOME WEBSITES FEATURED IN THIS RANKING MAY CONTAIN ADULT CONTENT. PLEASE USE CAUTION WHEN VISITING UNKNOWN WEBSITES. SIMILARWEB'S TOP WEBSITES RANKING OF WEBSITES BY AVERAGE MONTHLY TRAFFIC 01 GOOGLE.COM SEARCH 468,900,000 09M 43S 8.8 02 YOUTUBE.COM TV & VIDEO 173,900,000 25M 13S 10.9 03 FACEBOOK.COM SOCIAL 163,300,000 10M 52S 10.8 04 WHATSAPP.COM COMMUNICATION 38,000,000 02M 03S 1.8 05 YAHOO.COM NEWS 32,100,000 06M 28S 6.0 06 MAYBANK2U.COM.MY FINANCE 31,300,000 06M 38S 12.7 07 WIKIPEDIA.ORG REFERENCE 28,700,000 03M 32S 2.9 08 GOOGLE.COM.MY SEARCH 25,100,000 06M 57S 9.6 09 LAZADA.COM.MY SHOPPING 23,700,000 07M 38S 10.1 10 TWITTER.COM SOCIAL 22,800,000 10M 16S 10.0 # WEBSITE CATEGORY MONTHLY TRAFFIC TIME PER VISIT PAGES PER VISIT

25. 25. 26 2019 JAN SOURCE: ALEXA (JANUARY 2019). NOTES: 'TIME / DAY' FIGURES REPRESENT ALEXA'S ESTIMATES OF THE AVERAGE DAILY AMOUNT OF TIME THAT VISITORS SPEND ON THE SITE FOR DAYS WHEN THEY VISIT THE SITE, MEASURED IN MINUTES AND SECONDS. ADVISORY: SOME WEBSITES FEATURED IN THIS RANKING MAY CONTAIN ADULT CONTENT. PLEASE USE CAUTION WHEN VISITING UNKNOWN WEBSITES. ALEXA'S TOP WEBSITES RANKING OF WEBSITES BY THE NUMBER OF VISITORS AND TOTAL PAGE VIEWS 11 SHOPEE.COM.MY 08M 22S 4.84 12 GOODY25.COM 02M 21S 1.90 13 LOWYAT.NET 08M 09S 6.66 14 CIMBCLICKS.COM.MY 03M 13S 1.67 15 MUDAH.MY 12M 27S 11.30 16 LIVE.COM 03M 53S 3.76 17 TRIBUNNEWS.COM 05M 21S 4.00 18 PAULTAN.ORG 02M 43S 3.49 19 PBEBANK.COM 03M 57S 2.83 20 KISSASIAN.SH 08M 30S 8.92 01 GOOGLE.COM 07M 42S 9.54 02 YOUTUBE.COM 08M 47S 5.02 03 GOOGLE.COM.MY 04M 17S 4.49 04 FACEBOOK.COM 09M 43S 4.03 05 YAHOO.COM 04M 01S 3.60 06 BLOGSPOT.COM 03M 07S 2.43 07 MAYBANK2U.COM.MY 05M 00S 3.21 08 WIKIPEDIA.ORG 04M 15S 3.15 09 COCO02.NET 02M 38S 1.94 10 LAZADA.COM.MY 12M 40S 8.07 # WEBSITE TIME / DAY PAGES / VISIT # WEBSITE TIME / DAY PAGES / VISIT

26. 26. 27 2019 JAN SOURCE: GOOGLE TRENDS (ACCESSED JANUARY 2019); KEPIOS ANALYSIS. NOTES: GOOGLE DOES NOT PUBLISH SEARCH VOLUMES, BUT THE 'INDEX' COLUMN SHOWS RELATIVE VOLUMES FOR EACH QUERY COMPARED TO SEARCH VOLUMES FOR THE TOP QUERY (AN INDEX OF 50 MEANS THAT THE QUERY RECEIVED 50% OF THE SEARCH VOLUME OF THE TOP QUERY). YEAR-ON-YEAR CHANGE FIGURES COMPARE INDEX VALUES FOR EACH QUERY IN DECEMBER 2018 TO DECEMBER 2017. TOP GOOGLE SEARCH QUERIES IN 2018 BASED ON SEARCHES THROUGHOUT 2018 11 MALAYSIAKINI 13 12 MAYBANK2U LOGIN 13 13 TOTO 11 14 RESULT 4D 11 15 GMAIL 11 16 WHATSAPP 10 17 LAZADA 9 18 YAHOO 9 19 INSTAGRAM 9 20 POSLAJU 8 01 MALAYSIA 100 02 GOOGLE 47 03 4D 40 04 TRANSLATE 38 05 YOUTUBE 33 06 MAYBANK2U 26 07 FACEBOOK 25 08 GOOGLE TRANSLATE 24 09 CIMB 14 10 YOU 14 # SEARCH QUERY INDEX # SEARCH QUERY INDEX

27. 27. 28 2019 JAN SOURCE: GLOBALWEBINDEX (Q2 & Q3 2018). FIGURES REPRESENT THE FINDINGS OF A BROAD SURVEY OF INTERNET USERS AGED 16-64. CONTENT STREAMING ACTIVITIES PERCENTAGE OF INTERNET USERS WHO STREAM EACH KIND OF CONTENT EACH MONTH [SURVEY BASED] 98% 47% 30% 24% 15% WATCH VIDEOS ONLINE STREAM TV CONTENT VIA THE INTERNET PLAY GAMES STREAMED LIVE VIA THE INTERNET WATCH LIVE STREAMS OF OTHERS PLAYING GAMES WATCH E-SPORTS TOURNAMENTS

28. 28. 29 2019 JAN SOURCE: GLOBALWEBINDEX (Q2 & Q3 2018). FIGURES REPRESENT THE FINDINGS OF A BROAD SURVEY OF INTERNET USERS AGED 16-64. USE OF INTERNET TECHNOLOGIES PERCENTAGE OF INTERNET USERS THAT USE EACH TOOL OR SERVICE EACH MONTH 28% 48% 51% 35% VOICE SEARCH OR VOICE COMMANDS RIDE-HAILING SERVICES AD-BLOCKING TOOLS VIRTUAL PRIVATE NETWORK (VPN) global web index

29. 29. 30 SOCIAL MEDIA USE

30. 30. 31 2019 JAN SOURCES: LATEST DATA PUBLISHED BY SOCIAL MEDIA PLATFORMS VIA PRESS RELEASES, INVESTOR EARNINGS ANNOUNCEMENTS, AND IN SELF-SERVE ADVERTISING TOOLS; ARAB SOCIAL MEDIA REPORT; TECHRASA; NIKI AGHAEI; ROSE.RU; KEPIOS ANALYSIS. SOCIAL MEDIA OVERVIEW BASED ON MONTHLY ACTIVE USERS OF THE MOST ACTIVE SOCIAL MEDIA PLATFORMS 25.00 78% 24.00 74% MILLION MILLION TOTAL NUMBER OF ACTIVE SOCIAL MEDIA USERS ACTIVE SOCIAL MEDIA USERS AS A PERCENTAGE OF TOTAL POPULATION TOTAL NUMBER OF ACTIVE SOCIAL USERS ACCESSING VIA MOBILE DEVICES ACTIVE MOBILE SOCIAL USERS AS A PERCENTAGE OF THE TOTAL POPULATION

31. 31. 32 2019 JAN SOURCE: GLOBALWEBINDEX (Q2 & Q3 2018). FIGURES REPRESENT THE FINDINGS OF A BROAD SURVEY OF INTERNET USERS AGED 16-64. FIGURES FOR 'TIME SPENT' ARE DAILY AVERAGES, IN HOURS AND MINUTES.*NOTE: FIGURE FOR SOCIAL MEDIA ACCOUNTS MAY NOT INDICATE ACTIVE USE OF ALL ACCOUNTS EVERY MONTH. SOCIAL MEDIA BEHAVIOURS HOW INTERNET USERS ENGAGE WITH SOCIAL MEDIA [SURVEY BASED] 100% 88% 2H 58M 10.0 32% VISITED OR USED A SOCIAL NETWORK OR MESSAGING SERVICE IN THE PAST MONTH ACTIVELY ENGAGED WITH OR CONTRIBUTED TO SOCIAL MEDIA IN THE PAST MONTH AVERAGE AMOUNT OF TIME PER DAY SPENT USING SOCIAL MEDIA AVERAGE NUMBER OF SOCIAL MEDIA ACCOUNTS PER INTERNET USER* PERCENTAGE OF INTERNET USERS WHO USE SOCIAL MEDIA FOR WORK PURPOSES global web index global web index

32. 32. 33 2019 JAN SOURCE: GLOBALWEBINDEX (Q2 & Q3 2018). FIGURES REPRESENT THE FINDINGS OF A BROAD SURVEY OF INTERNET USERS AGED 16-64. 93% 91% 91% 70% 64% 47% 44% 29% 26% 25% 22% 21% 20% 16% 14% 13% YOUTUBE WHATSAPP FACEBOOK INSTAGRAM FB MESSENGER WECHAT TWITTER LINKEDIN SKYPE PINTEREST LINE SNAPCHAT TUMBLR REDDIT TWITCH SINA WEIBO MOST ACTIVE SOCIAL MEDIA PLATFORMS PERCENTAGE OF INTERNET USERS WHO REPORT USING EACH PLATFORM [SURVEY BASED] SOCIAL NETWORK MESSENGER / VOIP

33. 33. 34 2019 JAN SOURCE: EACH PLATFORM'S SELF-SERVE ADVERTISING TOOLS (JANUARY 2019). *NOTE: FIGURES REPRESENT ADDRESSABLE ADVERTISING AUDIENCES ONLY, AND MAY NOT REFLECT TOTAL ACTIVE USERS OR MEMBER BASES. ADVISORY: FIGURES FOR LINKEDIN REPRESENT REGISTERED MEMBERS, SO ARE NOT DIRECTLY COMPARABLE TO FIGURES FOR OTHER PLATFORMS. SOCIAL MEDIA ADVERTISING AUDIENCES A COMPARISON OF THE TOTAL ADDRESSABLE ADVERTISING AUDIENCE* OF SELECTED SOCIAL MEDIA PLATFORMS 43% 57% 53% 47% 47% 53% 73% 23% 41% 59% 24.00 12.00 2.63 1.65 4.70 MILLION MILLION MILLION MILLION MILLION TOTAL ADVERTISING AUDIENCE ON FACEBOOK (MONTHLY ACTIVE USERS) TOTAL ADVERTISING AUDIENCE ON INSTAGRAM (MONTHLY ACTIVE USERS) TOTAL ADVERTISING AUDIENCE ON TWITTER (MONTHLY ACTIVE USERS) TOTAL ADVERTISING AUDIENCE ON SNAPCHAT (MONTHLY ACTIVE USERS) TOTAL ADVERTISING AUDIENCE ON LINKEDIN (REGISTERED MEMBERS) FEMALE FEMALEFEMALEFEMALEFEMALEMALE MALEMALEMALEMALE

34. 34. 35 2019 JAN SOURCE: EACH PLATFORM'S SELF-SERVE ADVERTISING TOOLS (JANUARY 2019). *NOTE: FIGURES REPRESENT ADDRESSABLE ADVERTISING AUDIENCES ONLY, AND MAY NOT REFLECT TOTAL ACTIVE USERS OR MEMBER BASES. ADVISORY: FIGURES FOR LINKEDIN REPRESENT REGISTERED MEMBERS, SO ARE NOT DIRECTLY COMPARABLE TO FIGURES FOR OTHER PLATFORMS. SOCIAL MEDIA AUDIENCES: QUARTERLY GROWTH THE QUARTERLY CHANGE IN THE TOTAL ADDRESSABLE ADVERTISING AUDIENCES* OF SELECTED SOCIAL MEDIA PLATFORMS +4.3% 0% +4.2% 0% +6.8% QUARTERLY CHANGE IN THE TOTAL ADVERTISING AUDIENCE ON FACEBOOK (MONTHLY ACTIVE USERS) QUARTERLY CHANGE IN THE TOTAL ADVERTISING AUDIENCE ON INSTAGRAM (MONTHLY ACTIVE USERS) QUARTERLY CHANGE IN THE TOTAL ADVERTISING AUDIENCE ON TWITTER (MONTHLY ACTIVE USERS) QUARTERLY CHANGE IN THE TOTAL ADVERTISING AUDIENCE ON SNAPCHAT (MONTHLY ACTIVE USERS) QUARTERLY CHANGE IN THE TOTAL ADVERTISING AUDIENCE ON LINKEDIN (REGISTERED MEMBERS)

35. 35. 36 2019 JAN SOURCE: EXTRAPOLATED FROM FACEBOOK DATA (JANUARY 2019); KEPIOS ANALYSIS. NOTE: FACEBOOK DOES NOT PUBLISH AUDIENCE DATA FOR GENDERS OTHER THAN 'MALE' OR 'FEMALE'. 2.3% 11% 15% 8% 4.4% 2.3% 0.8% 2.6% 14% 20% 10% 4.8% 2.6% 1.3% SOCIAL MEDIA AUDIENCE PROFILE BASED ON THE COMBINED ADVERTISING AUDIENCES OF FACEBOOK, INSTAGRAM, AND FACEBOOK MESSENGER YEARS OLD YEARS OLDYEARS OLDYEARS OLDYEARS OLDYEARS OLDYEARS OLD 13 - 17 18 - 24 25 - 34 35 - 44 45 - 54 55 - 64 65+ FEMALE MALE

36. 36. 37 2019 JAN SOURCE: FACEBOOK (JANUARY 2019); KEPIOS ANALYSIS. *NOTE: FACEBOOK DOES NOT PUBLISH ADVERTISING AUDIENCE DATA FOR GENDERS OTHER THAN 'MALE' AND 'FEMALE'. ADVISORY: FIGURES REPORTED ON THIS CHART ARE BASED ON FACEBOOK'S ADDRESSABLE ADVERTISING AUDIENCE, AND MAY NOT MATCH TOTAL MONTHLY ACTIVE USERS. AS A RESULT, FIGURES ON THIS CHART ARE NOT DIRECTLY COMPARABLE TO THE 'MONTHLY ACTIVE FACEBOOK USERS' FIGURE THAT WE REPORTED IN OUR DIGITAL 2018 REPORTS. FACEBOOK AUDIENCE OVERVIEW BASED ON FACEBOOK'S TOTAL ADDRESSABLE ADVERTISING AUDIENCE 24.00 98% +4.3% 43% 57% MILLION NUMBER OF PEOPLE THAT FACEBOOK REPORTS CAN BE REACHED WITH ADVERTS ON FACEBOOK PERCENTAGE OF ADULTS AGED 13+ THAT CAN BE REACHED WITH ADVERTS ON FACEBOOK QUARTER-ON- QUARTER GROWTH IN FACEBOOK ADVERTISING REACH PERCENTAGE OF ITS AD AUDIENCE THAT FACEBOOK REPORTS IS FEMALE* PERCENTAGE OF ITS AD AUDIENCE THAT FACEBOOK REPORTS IS MALE*

37. 37. 38 2019 JAN SOURCE: FACEBOOK (JANUARY 2019). *NOTE: FIGURES REPRESENT MEDIAN VALUES FOR ACTIVE FACEBOOK USERS AGED 18 AND ABOVE. FACEBOOK ACTIVITY FREQUENCY THE NUMBER OF TIMES A 'TYPICAL' USER* PERFORMS EACH ACTIVITY ON FACEBOOK 1 1 11 8 6 4 2 1 19 13 1 9 4 1 15 NUMBER OF FACEBOOK PAGES LIKED (LIFETIME) POSTS LIKED IN THE PAST 30 DAYS (ALL POST TYPES) COMMENTS MADE IN THE PAST 30 DAYS (ALL POST TYPES) FACEBOOK POSTS SHARED IN THE PAST 30 DAYS (ALL POST TYPES) FACEBOOK ADVERTS CLICKED IN THE PAST 30 DAYS (ANY CLICK TYPE) FEMALE FEMALEFEMALEFEMALEFEMALEMALE MALEMALEMALEMALE

38. 38. 39 2019 JAN SOURCE: LOCOWISE (JANUARY 2019). FIGURES REPRESENT AVERAGES FOR Q4 2018. NOTE: FIGURES REPRESENT AVERAGES FOR A BROAD RANGE OF DIFFERENT PAGES. ON AVERAGE, PAGES WITH LARGER AUDIENCES (I.E. GREATER NUMBERS OF 'PAGE LIKES) WILL EXPERIENCE LOWER LEVELS OF ORGANIC REACH. ADVISORY: MANY LARGE BRAND PAGES WILL EXPERIENCE SIGNIFICANTLY LOWER LEVELS OF ORGANIC REACH AND ENGAGEMENT COMPARED TO THE AVERAGES QUOTED HERE. FACEBOOK PAGE REACH BENCHMARKS AVERAGE MONTHLY GROWTH IN PAGE LIKES ('FANS'), AVERAGE REACH OF PAGE POSTS, AND THE CONTRIBUTION OF PAID MEDIA +0.15% 7.9% 4.3% 28% 29% AVERAGE MONTHLY CHANGE IN PAGE LIKES AVERAGE POST REACH vs. PAGE LIKES AVERAGE ORGANIC REACH vs. PAGE LIKES PERCENTAGE OF PAGES USING PAID MEDIA AVERAGE PAID REACH vs. TOTAL REACH

39. 39. 40 2019 JAN SOURCE: LOCOWISE (JANUARY 2019). FIGURES REPRESENT AVERAGES FOR Q4 2018. *NOTE: FIGURES REPRESENT AVERAGES FOR A BROAD RANGE OF DIFFERENT PAGES. ON AVERAGE, PAGES WITH LARGER AUDIENCES (I.E. GREATER NUMBERS OF 'PAGE LIKES') WILL EXPERIENCE LOWER LEVELS OF ENGAGEMENT ACROSS ALL POST TYPES. ADVISORY: MANY LARGE BRAND PAGES WILL EXPERIENCE SIGNIFICANTLY LOWER LEVELS OF ORGANIC REACH AND ENGAGEMENT COMPARED TO THE AVERAGES QUOTED HERE. FACEBOOK ENGAGEMENT BENCHMARKS THE NUMBER OF PEOPLE WHO ENGAGE WITH A FACEBOOK PAGE'S POSTS vs. PAGE REACH 4.01% 7.11% 6.44% 2.52% 2.26% AVERAGE ENGAGEMENT RATE FOR FACEBOOK PAGE POSTS (ALL TYPES OF POST, ALL TYPES OF PAGE*) AVERAGE ENGAGEMENT RATE FOR FACEBOOK PAGE VIDEO POSTS (ALL TYPES OF PAGE*) AVERAGE ENGAGEMENT RATE FOR FACEBOOK PAGE PHOTO POSTS (ALL TYPES OF PAGE*) AVERAGE ENGAGEMENT RATE FOR FACEBOOK PAGE LINK POSTS (ALL TYPES OF PAGE*) AVERAGE ENGAGEMENT RATE FOR FACEBOOK PAGE STATUS POSTS (ALL TYPES OF PAGE*)

40. 40. 41 2019 JAN SOURCE: INSTAGRAM (JANUARY 2019); KEPIOS ANALYSIS. *NOTE: INSTAGRAM DOES NOT PUBLISH ADVERTISING AUDIENCE DATA FOR GENDERS OTHER THAN 'MALE' AND 'FEMALE'. INSTAGRAM AUDIENCE OVERVIEW BASED ON INSTAGRAM'S TOTAL ADDRESSABLE ADVERTISING AUDIENCE 12.00 49% 0% 53% 47% MILLION NUMBER OF PEOPLE THAT INSTAGRAM REPORTS CAN BE REACHED WITH ADVERTS ON INSTAGRAM PERCENTAGE OF ADULTS AGED 13+ THAT CAN BE REACHED WITH ADVERTS ON INSTAGRAM QUARTER-ON- QUARTER GROWTH IN INSTAGRAM ADVERTISING REACH PERCENTAGE OF ITS AD AUDIENCE THAT INSTAGRAM REPORTS IS FEMALE* PERCENTAGE OF ITS AD AUDIENCE THAT INSTAGRAM REPORTS IS MALE*

41. 41. 42 2019 JAN SOURCE: TWITTER (JANUARY 2019); KEPIOS ANALYSIS. *NOTE: TWITTER DOES NOT PUBLISH ADVERTISING AUDIENCE DATA FOR GENDERS OTHER THAN 'MALE' AND 'FEMALE'. GENDER SHARE FIGURES EXTRAPOLATED FROM AVAILABLE DATA. TWITTER AUDIENCE OVERVIEW BASED ON TWITTER'S TOTAL ADDRESSABLE ADVERTISING AUDIENCE 2.63 11% +4.2% 47% 53% MILLION NUMBER OF PEOPLE THAT TWITTER REPORTS CAN BE REACHED WITH ADVERTS ON TWITTER PERCENTAGE OF ADULTS AGED 13+ THAT CAN BE REACHED WITH ADVERTS ON TWITTER QUARTER-ON- QUARTER GROWTH IN TWITTER ADVERTISING REACH PERCENTAGE OF ITS AD AUDIENCE THAT TWITTER REPORTS IS FEMALE* PERCENTAGE OF ITS AD AUDIENCE THAT TWITTER REPORTS IS MALE*

42. 42. 43 2019 JAN SOURCE: SNAPCHAT (JANUARY 2019); KEPIOS ANALYSIS. *NOTE: SNAPCHAT DOES NOT PUBLISH ADVERTISING AUDIENCE DATA FOR GENDERS OTHER THAN 'MALE' AND 'FEMALE', BUT THE DATA THAT THE PLATFORM REPORTS FOR MALE AND FEMALE AUDIENCES DO NOT SUM TO 100% OF THE TOTAL AUDIENCE FIGURE. SNAPCHAT AUDIENCE OVERVIEW BASED ON SNAPCHAT'S TOTAL ADDRESSABLE ADVERTISING AUDIENCE 1.65 6.7% 0% 73% 23% MILLION NUMBER OF PEOPLE THAT SNAPCHAT REPORTS CAN BE REACHED WITH ADVERTS ON SNAPCHAT PERCENTAGE OF ADULTS AGED 13+ THAT CAN BE REACHED WITH ADVERTS ON SNAPCHAT QUARTER-ON- QUARTER GROWTH IN SNAPCHAT ADVERTISING REACH PERCENTAGE OF ITS AD AUDIENCE THAT SNAPCHAT REPORTS IS FEMALE* PERCENTAGE OF ITS AD AUDIENCE THAT SNAPCHAT REPORTS IS MALE*

43. 43. 44 2019 JAN SOURCE: LINKEDIN (JANUARY 2019); KEPIOS ANALYSIS.*NOTE: LINKEDIN'S ADVERTISING AUDIENCE FIGURES ARE BASED ON TOTAL MEMBERS, NOT MONTHLY ACTIVE USERS. LINKEDIN DOES NOT REPORT ADVERTISING AUDIENCE FIGURES FOR GENDERS OTHER THAN 'MALE' OR 'FEMALE'. GENDER DATA HAVE BEEN EXTRAPOLATED BASED ON AVAILABLE DATA. LINKEDIN AUDIENCE OVERVIEW BASED ON LINKEDIN'S TOTAL ADDRESSABLE ADVERTISING AUDIENCE 4.70 22% +6.8% 41% 59% MILLION NUMBER OF PEOPLE THAT LINKEDIN REPORTS CAN BE REACHED WITH ADVERTS ON LINKEDIN PERCENTAGE OF ADULTS AGED 18+ THAT CAN BE REACHED WITH ADVERTS ON LINKEDIN QUARTER-ON- QUARTER GROWTH IN LINKEDIN ADVERTISING REACH PERCENTAGE OF ITS AD AUDIENCE THAT LINKEDIN REPORTS IS FEMALE* PERCENTAGE OF ITS AD AUDIENCE THAT LINKEDIN REPORTS IS MALE*

44. 44. 45 2019 JAN SOURCE: GOOGLE TRENDS (ACCESSED JANUARY 2019); KEPIOS ANALYSIS. NOTES: GOOGLE DOES NOT PUBLISH SEARCH VOLUMES, BUT THE 'INDEX' COLUMN SHOWS RELATIVE VOLUMES FOR EACH QUERY COMPARED TO SEARCH VOLUMES FOR THE TOP QUERY (AN INDEX OF 50 MEANS THAT THE QUERY RECEIVED 50% OF THE SEARCH VOLUME OF THE TOP QUERY). TOP YOUTUBE SEARCH QUERIES IN 2018 BASED ON SEARCHES ON THE YOUTUBE PLATFORM THROUGHOUT 2018 11 BABY SHARK 13 12 HANTU 12 13 DIDI 11 14 SYANTIK 9 15 TIK TOK 9 16 BOBOIBOY 9 17 KISS 9 18 LAGU BARU 9 19 BLACKPINK 9 20 DIDI AND FRIENDS 8 01 MOVIE 100 02 LAGU 72 03 LIVE 28 04 BABY 27 05 KARAOKE 23 06 UPIN 21 07 UPIN IPIN 21 08 BTS 18 09 DJ 17 10 FRIENDS 13 # SEARCH QUERY INDEX # SEARCH QUERY INDEX

45. 45. 46 MOBILE USE

46. 46. 47 2019 JAN SOURCE: GSMA INTELLIGENCE (Q4 2018 AND JANUARY 2019). ADVISORY: GSMA INTELLIGENCE HAVE REVISED SOME HISTORICAL FIGURES IN THE PAST YEAR, SO THE FIGURES SHOWN HERE MAY NOT BE DIRECTLY COMPARABLE TO THE DATA WE REPORTED IN OUR DIGITAL 2018 REPORTS. MOBILE CONNECTIONS BY TYPE BASED ON THE NUMBER OF CELLULAR CONNECTIONS (NOTE: NOT UNIQUE INDIVIDUALS) 40.24 125% 72% 28% 89% MILLION TOTAL NUMBER OF MOBILE CONNECTIONS MOBILE CONNECTIONS AS A PERCENTAGE OF TOTAL POPULATION PERCENTAGE OF MOBILE CONNECTIONS THAT ARE PRE-PAID PERCENTAGE OF MOBILE CONNECTIONS THAT ARE POST-PAID PERCENTAGE OF MOBILE CONNECTIONS THAT ARE BROADBAND (3G & 4G)

47. 47. 48 2019 JAN SOURCE: GSMA INTELLIGENCE. TO ACCESS THE COMPLETE MOBILE CONNECTIVITY INDEX, VISIT HTTP://WWW.MOBILECONNECTIVITYINDEX.COM/ MOBILE CONNECTIVITY INDEX GSMA INTELLIGENCE'S ASSESSMENT OF KEY ENABLERS AND DRIVERS OF MOBILE CONNECTIVITY 67.97 60.48 70.02 75.18 67.03 OVERALL COUNTRY INDEX SCORE MOBILE NETWORK INFRASTRUCTURE AFFORDABILITY OF DEVICES & SERVICES CONSUMER READINESS AVAILABILITY OF RELEVANT CONTENT & SERVICES OUT OF A MAXIMUM POSSIBLE SCORE OF 100 OUT OF A MAXIMUM POSSIBLE SCORE OF 100 OUT OF A MAXIMUM POSSIBLE SCORE OF 100 OUT OF A MAXIMUM POSSIBLE SCORE OF 100 OUT OF A MAXIMUM POSSIBLE SCORE OF 100

48. 48. 49 2019 JANJAN 2019 SOURCE: GLOBALWEBINDEX (Q2 & Q3 2018). FIGURES REPRESENT THE FINDINGS OF A BROAD SURVEY OF INTERNET USERS AGED 16-64. MOBILE ACTIVITIES PERCENTAGE OF INTERNET USERS PERFORMING EACH ACTIVITY ON A MOBILE PHONE EACH MONTH [SURVEY BASED] 96% 95% 73% 66% 85% PERCENTAGE OF INTERNET USERS USING MOBILE MESSENGERS PERCENTAGE OF INTERNET USERS WATCHING VIDEOS ON MOBILE PERCENTAGE OF INTERNET USERS PLAYING GAMES ON MOBILE PERCENTAGE OF INTERNET USERS USING MOBILE BANKING PERCENTAGE OF INTERNET USERS USING MOBILE MAP SERVICES global web index global web index

49. 49. 50 2019 JAN SOURCE: APP ANNIE (JANUARY 2019); KEPIOS ANALYSIS. CONSUMER SPEND FIGURES ARE IN U.S. DOLLARS. NOTE: FIGURES REPRESENT VALUES FOR THE LOCAL COUNTRY / TERRITORY ONLY. MOBILE APPS: INSTALLS vs. USAGE A CLOSER LOOK AT THE NUMBER OF APPS DOWNLOADED AND INSTALLED, COMPARED TO THE NUMBER OF APPS USED 1.021 $348.4 [N/A] [N/A] BILLION MILLION NUMBER OF MOBILE APPS DOWNLOADED DURING FULL YEAR 2018 TOTAL CONSUMER SPENDING ON MOBILE APPS DURING 2018 (U.S. DOLLARS) AVERAGE NUMBER OF APPS INSTALLED PER SMARTPHONE DEVICE AVERAGE NUMBER OF MOBILE APPS USED PER MONTH PER SMARTPHONE

50. 50. 51 2019 JAN SOURCE: APP ANNIE (JANUARY 2019). BASED ON COMBINED DATA FOR ANDROID AND IPHONE DEVICES. NOTE: DOES NOT INCLUDE DATA FOR DOWNLOADS FROM THIRD-PARTY ANDROID STORES. MOBILE APP RANKINGS: ACTIVE USERS RANKINGS OF TOP MOBILE APPS AND GAMES BY AVERAGE MONTHLY ACTIVE USERS THROUGHOUT 2018 RANKING OF MOBILE APPS BY MONTHLY ACTIVE USERS RANKING OF MOBILE GAMES BY MONTHLY ACTIVE USERS 01 WHATSAPP MESSENGER FACEBOOK 02 FACEBOOK FACEBOOK 03 FACEBOOK MESSENGER FACEBOOK 04 INSTAGRAM FACEBOOK 05 WECHAT TENCENT 06 WAZE GOOGLE 07 LAZADA ALIBABA GROUP 08 GRAB GRAB 09 TELEGRAM TELEGRAM 10 SHOPEE SEA 01 MOBILE LEGENDS: BANG BANG MOONTON 02 CANDY CRUSH SAGA ACTIVISION BLIZZARD 03 CLASH OF CLANS SUPERCELL 04 PUBG MOBILE TENCENT 05 POKÉMON GO NIANTIC 06 CLASH ROYALE SUPERCELL 07 CANDY CRUSH SODA SAGA ACTIVISION BLIZZARD 08 SUBWAY SURFERS KILOO 09 FREE FIRE SEA 10 MINECRAFT POCKET EDITION MICROSOFT # APP NAME DEVELOPER # APP NAME DEVELOPER

51. 51. 52 2019 JAN SOURCE: APP ANNIE (JANUARY 2019). BASED ON COMBINED DATA FOR THE GOOGLE PLAY AND APPLE iOS APP STORES. NOTE: DOES NOT INCLUDE DATA FOR DOWNLOADS FROM THIRD-PARTY ANDROID STORES. MOBILE APP RANKINGS: DOWNLOADS RANKINGS OF TOP MOBILE APPS AND GAMES BY THE NUMBER OF DOWNLOADS IN 2018 RANKING OF MOBILE APPS BY DOWNLOADS RANKING OF MOBILE GAMES BY DOWNLOADS 01 FACEBOOK MESSENGER FACEBOOK 02 FACEBOOK FACEBOOK 03 TIK TOK TOUTIAO 04 WHATSAPP MESSENGER FACEBOOK 05 SHOPEE SEA 06 INSTAGRAM FACEBOOK 07 GRAB GRAB 08 SHAREIT SHAREIT 09 LAZADA ALIBABA GROUP 10 WECHAT TENCENT 01 MOBILE LEGENDS: BANG BANG MOONTON 02 PUBG MOBILE TENCENT 03 FREE FIRE SEA 04 RULES OF SURVIVAL NETEASE 05 SUBWAY SURFERS KILOO 06 LOVE BALLS SUPERTAPX 07 CANDY CRUSH SAGA ACTIVISION BLIZZARD 08 HAPPY GLASS APPLOVIN 09 GRANNY DVLOPER 10 8 BALL POOL MINICLIP # APP NAME DEVELOPER # APP NAME DEVELOPER

52. 52. 53 2019 JAN SOURCE: APP ANNIE (JANUARY 2019). BASED ON COMBINED DATA FOR THE GOOGLE PLAY AND APPLE iOS APP STORES. NOTE: DOES NOT INCLUDE DATA FOR DOWNLOADS FROM THIRD-PARTY ANDROID STORES. MOBILE APP RANKINGS: REVENUE RANKINGS OF TOP MOBILE APPS AND GAMES BY TOTAL REVENUE GENERATED IN 2018 RANKING OF MOBILE APPS BY REVENUE RANKING OF MOBILE GAMES BY REVENUE 01 BIGO LIVE BIGO 02 NETFLIX NETFLIX 03 SING! BY SMULE SMULE 04 TINDER INTERACTIVECORP (IAC) 05 LINE LINE 06 GOOGLE DRIVE GOOGLE 07 17 - YOUR LIFE'S MOMENTS PAKTOR 08 JOOX MUSIC TENCENT 09 MEME LIVE NEXT ENTERTAINMENT 10 FINDNOW RATECH 01 MOBILE LEGENDS: BANG BANG MOONTON 02 BE THE KING CHUANG COOL 03 RULES OF SURVIVAL NETEASE 04 LORDS MOBILE IGG 05 SLOTOMANIA GIANT NETWORK 06 PUBG MOBILE TENCENT 07 TOWER OF SAVIORS MAD HEAD 08 ZYNGA POKER ZYNGA 09 CLASH OF CLANS SUPERCELL 10 POKÉMON GO NIANTIC # APP NAME DEVELOPER # APP NAME DEVELOPER

53. 53. 54 E-COMMERCE USE

54. 54. 55 2019 JAN SOURCE: WORLD BANK GLOBAL FINANCIAL INCLUSION DATA (LATEST AVAILABLE DATA, ACCESSED JANUARY 2019). NOTE: FIGURES REPRESENT THE PERCENTAGE OF ADULTS AGED 15+, NOT TOTAL POPULATION. FINANCIAL INCLUSION FACTORS PERCENTAGE OF THE POPULATION AGED 15+ THAT REPORTS OWNING OR USING EACH FINANCIAL PRODUCT OR SERVICE 16% 26% 39% 38% 85% 21% 11% 39% HAS AN ACCOUNT WITH A FINANCIAL INSTITUTION HAS A CREDIT CARD HAS A MOBILE MONEY ACCOUNT MAKES ONLINE PURCHASES AND / OR PAYS BILLS ONLINE PERCENTAGE OF WOMEN WITH A CREDIT CARD PERCENTAGE OF MEN WITH A CREDIT CARD PERCENTAGE OF WOMEN MAKING ONLINE TRANSACTIONS PERCENTAGE OF MEN MAKING ONLINE TRANSACTIONS

55. 55. 56 2019 JAN SOURCE: GLOBALWEBINDEX (Q2 & Q3 2018). FIGURES REPRESENT THE FINDINGS OF A BROAD SURVEY OF INTERNET USERS AGED 16-64. E-COMMERCE ACTIVITIES PERCENTAGE OF INTERNET USERS WHO REPORT PERFORMING EACH ACTIVITY IN THE PAST MONTH [SURVEY BASED] 88% 88% 75% 44% 58% SEARCHED ONLINE FOR A PRODUCT OR SERVICE TO BUY VISITED AN ONLINE RETAIL STORE ON THE WEB (ANY DEVICE) PURCHASED A PRODUCT OR SERVICE ONLINE (ANY DEVICE) MADE AN ONLINE PURCHASE VIA A LAPTOP OR DESKTOP COMPUTER MADE AN ONLINE PURCHASE VIA A MOBILE DEVICE global web index global web index

56. 56. 57 2019 JAN SOURCE: STATISTA DIGITAL MARKET OUTLOOK FOR E-COMMERCE, E-TRAVEL, AND DIGITAL MEDIA INDUSTRIES (ACCESSED JANUARY 2019). NOTES: FIGURES ARE BASED ON ESTIMATES OF FULL- YEAR CONSUMER SPEND FOR 2018, EXCLUDING B2B SPEND. FIGURES FOR DIGITAL MUSIC AND VIDEO GAMES INCLUDE STREAMING. ADVISORY: STATISTA HAVE REVISED THEIR FIGURES FOR 2017 SPEND SINCE LAST YEAR, SO THESE FIGURES WILL NOT BE COMPARABLE TO DATA WE REPORTED IN OUR DIGITAL 2018 REPORTS. E-COMMERCE SPEND BY CATEGORY THE TOTAL ANNUAL AMOUNT SPENT ON CONSUMER E-COMMERCE CATEGORIES, IN U.S. DOLLARS $486.0 $2.759 $30.00 $100.0 MILLION BILLION MILLION MILLION $771.0 $851.0 $483.0 $553.0 MILLION MILLION MILLION MILLION FASHION & BEAUTY ELECTRONICS & PHYSICAL MEDIA FOOD & PERSONAL CARE FURNITURE & APPLIANCES TOYS, DIY & HOBBIES TRAVEL (INCLUDING ACCOMMODATION) DIGITAL MUSIC VIDEO GAMES

57. 57. 58 2019 JAN SOURCE: STATISTA DIGITAL MARKET OUTLOOK FOR E-COMMERCE, E-TRAVEL, AND DIGITAL MEDIA INDUSTRIES (ACCESSED JANUARY 2019). NOTES: FIGURES ARE BASED ON ESTIMATES OF FULL- YEAR CONSUMER SPEND FOR 2018, EXCLUDING B2B SPEND. FIGURES FOR DIGITAL MUSIC AND VIDEO GAMES INCLUDE STREAMING. ADVISORY: STATISTA HAVE REVISED THEIR FIGURES FOR 2017 SPEND SINCE LAST YEAR, SO THESE FIGURES WILL NOT BE COMPARABLE TO DATA WE REPORTED IN OUR DIGITAL 2018 REPORTS. E-COMMERCE GROWTH BY CATEGORY ANNUAL CHANGE IN THE TOTAL AMOUNT SPENT ON CONSUMER E-COMMERCE CATEGORIES +33% +18% +10% +16% +26% +29% +39% +30% FASHION & BEAUTY ELECTRONICS & PHYSICAL MEDIA FOOD & PERSONAL CARE FURNITURE & APPLIANCES TOYS, DIY & HOBBIES TRAVEL (INCLUDING ACCOMMODATION) DIGITAL MUSIC VIDEO GAMES

58. 58. 59 2019 JAN SOURCE: STATISTA DIGITAL MARKET OUTLOOK FOR E-COMMERCE INDUSTRY (ACCESSED JANUARY 2019). NOTE: FIGURES ARE BASED ON ESTIMATES OF FULL-YEAR CONSUMER SPEND FOR 2018, EXCLUDING B2B SPEND. ADVISORY: STATISTA HAVE REVISED THEIR FIGURES FOR 2017 SPEND SINCE LAST YEAR, SO THESE FIGURES WILL NOT BE COMPARABLE TO DATA WE REPORTED IN OUR DIGITAL 2018 REPORTS. E-COMMERCE DETAIL: CONSUMER GOODS OVERVIEW OF THE E-COMMERCE MARKET FOR CONSUMER GOODS, WITH VALUES IN U.S. DOLLARS 19.80 61% $3.144 $159 MILLION BILLION +2.1% +31% +28% TOTAL NUMBER OF PEOPLE PURCHASING CONSUMER GOODS VIA E-COMMERCE PENETRATION OF CONSUMER GOODS E-COMMERCE (TOTAL POPULATION) VALUE OF THE CONSUMER GOODS E-COMMERCE MARKET (TOTAL ANNUAL SALES REVENUE) AVERAGE ANNUAL REVENUE PER USER OF CONSUMER GOODS E-COMMERCE (ARPU) YEAR-ON-YEAR CHANGE YEAR-ON-YEAR CHANGE YEAR-ON-YEAR CHANGE

59. 59. 60 2019 JAN SOURCE: WORLDPAY GLOBAL PAYMENTS REPORT (NOVEMBER 2018); KEPIOS ANALYSIS. *NOTE: THE PER-CAPITA E-COMMERCE SPEND FIGURE QUOTED ON THIS CHART IS TAKEN FROM A DIFFERENT SOURCE COMPARED TO THE E-COMMERCE ARPU FIGURES QUOTED ELSEWHERE IN THIS REPORT, SO FIGURES MAY NOT MATCH. RETAIL SPEND FIGURES ARE BASED ON COMBINED E-COMMERCE AND POINT-OF-SALE SPEND, AS REPORTED BY WORLDPAY. E-COMMERCE SPEND IN CONTEXT COMPARING E-COMMERCE SPEND TO POINT-OF-SALE (P.O.S.) SPEND, WITH E-WALLET DETAIL $110 $4,493 2.4% 7.0% 1.0% E-COMMERCE SPEND PER CAPITA* IN U.S. DOLLARS POINT-OF-SALE SPEND PER CAPITA IN U.S. DOLLARS E-COMMERCE SPEND AS A SHARE OF RETAIL SPEND* E-WALLETS' SHARE OF E-COMMERCE SPEND E-WALLETS' SHARE OF POINT-OF-SALE SPEND

60. 60. 61 2019 JAN SOURCE: GOOGLE TRENDS (ACCESSED JANUARY 2019); KEPIOS ANALYSIS. NOTES: GOOGLE DOES NOT PUBLISH SEARCH VOLUMES, BUT THE 'INDEX' COLUMN SHOWS RELATIVE VOLUMES FOR EACH QUERY COMPARED TO SEARCH VOLUMES FOR THE TOP QUERY (AN INDEX OF 50 MEANS THAT THE QUERY RECEIVED 50% OF THE SEARCH VOLUME OF THE TOP QUERY). TOP GOOGLE SHOPPING QUERIES BASED ON SEARCHES THROUGHOUT 2018 11 GUCCI 19 12 LAZADA MALAYSIA 16 13 ADIDAS SHOES 14 14 GOOGLE 13 15 XIAOMI 11 16 TRANSLATE 10 17 NINTENDO SWITCH 10 18 LEGO 10 19 SAMSUNG MALAYSIA 10 20 HUAWEI P20 10 01 LAZADA 100 02 SAMSUNG 66 03 HUAWEI 57 04 OPPO 47 05 IPHONE 45 06 ADIDAS 40 07 SHOPEE 38 08 NIKE 38 09 VIVO 25 10 IKEA 23 # SEARCH QUERY INDEX # SEARCH QUERY INDEX

61. 61. 62 2019 JAN SOURCE: GLOBALWEBINDEX (Q2 & Q3 2018). FIGURES REPRESENT THE FINDINGS OF A BROAD SURVEY OF INTERNET USERS AGED 16-64. CONNECTED MONEY UNDERSTANDING INTERNET USERS' ONLINE FINANCIAL ACTIVITIES 66% 42% 58% 7.7% USE MOBILE BANKING MAKE MOBILE PAYMENTS PURCHASE ITEMS ONLINE USING A MOBILE PHONE OWN SOME FORM OF CRYPTOCURRENCY

62. 62. 63 MORE INFORMATION

63. 63. HOOTSUITE WE ARE SOCIAL CLICK THE LOGOS BELOW TO READ AND DOWNLOAD THE FULL COLLECTION OF DIGITAL 2019 REPORTS, AND ACCESS ADDITIONAL CONTENT, INSIGHTS AND RESOURCES FROM HOOTSUITE AND WE ARE SOCIAL:

64. 64. Learn more at http://www.globalwebindex.com 90% GLOBAL COVERAGE ONGOING DATA COLLECTION ACROSS 45 MARKETS CROSS-DEVICE COVERAGE GlobalWebIndex is the leading provider of audience profiling data to agencies, publishers, and brands worldwide. SPECIAL THANKS: GLOBALWEBINDEX

65. 65. Learn more about GSMA Intelligence at http://www.gsmaintelligence.com GSMA Intelligence is the unit within the GSMA that houses the organisation's extensive database of mobile operator statistics, forecasts, and industry reports. GSMA Intelligence's datacoverseveryoperatorgroup,networkandMVNOineverycountry-fromAfghanistan to Zimbabwe. Updated daily, it is the most accurate and complete set of industry metrics available, comprising tens of millions of individual data points. Leadingoperators,vendors,regulators,financialinstitutionsandthird-partyindustryplayers rely on GSMA Intelligence to support strategic decision-making and long-term investment planning. The data is used as an industry reference point and is frequently cited by the media and by the industry itself. GSMA Intelligence's team of analysts and experts produce regular thought-leading research reports across a range of industry topics. SPECIAL THANKS: GSMA INTELLIGENCE

66. 66. Learn more about Statista at http://www.statista.com 82% OF THE GLOBAL INTERNET POPULATION 150 COUNTRIES AND REGIONS 92% OF WORLDWIDE ECONOMIC POWER MORE THAN 30,000 INTERACTIVE STATISTICS Statista is one of the world's largest online statistics databases. Its Digital Market Outlook products provide forecasts, detailed market insights, and key indicators on over 90 digital markets within verticals including e-commerce, digital media, smart home, and e-health for over 150 countries and regions. SPECIAL THANKS: STATISTA

67. 67. Learn more about Locowise at http://locowise.com CUSTOM REPORT BUILDER WITH OVER 300 METRICS CAMPAIGN ANALYSIS, TRACKING AND REPORTING INSIGHTS FROM ALL YOUR NETWORKS IN ONE PLACE PREDICTIVE METRICS TO DRIVE FUTURE STRATEGY Locowise is a social media performance measurement platform that helps agencies to manage clients, produce and prove value, and win new business. SPECIAL THANKS: LOCOWISE

68. 68. Learn more about SimilarWeb at http://www.similarweb.com WEB INTELLIGENCE APP INTELLIGENCE GLOBAL COVERAGE GRANULAR ANALYSIS SimilarWeb is the pioneer of market intelligence and the standard for understanding the digital world. SimilarWeb provides granular insights about any website or app across all industries in every region. SPECIAL THANKS: SIMILARWEB

69. 69. Learn more about App Annie at http://www.appannie.com App Annie is the industry's most trusted mobile data and analytics platform. The company created the mobile app data market and has been fueling world-class, mobile-first businesses since 2010. App Annie's mission is to power B2C companies' mobile transformation and enable clients to deliver winning consumer experiences. More than 1,000 enterprise clients and 1 million registered users across the globe and spanning all industries rely on App Annie as the gold standard to revolutionize their mobile business. The company is headquartered in San Francisco with offices in 13 countries. 1 MILLION REGISTERED USERS BEST-IN-CLASS DATA COVERAGE ACROSS 150 COUNTRIES UNPARALLELED SERVICE & SUPPORT SPECIAL THANKS: APP ANNIE

70. 70. SOCIAL MEDIA BEHAVIOURS: Time spent on social media from GlobalWebIndex (Q2 & Q3 2018)*. Facebook reach and engagement data from Locowise (Q4 2018). MOBILE USERS & CONNECTIONS: GSMA Intelligence (January 2019); Ericsson Mobility Report (November 2018); Ericsson Mobility Calculator and Visualizer tools (accessed January 2019); MOBILE APPS: App Annie (January 2019); SimilarWeb (January 2019). E-COMMERCE USERS & SPEND: Statista Digital Market Outlook (e-Commerce, e-Travel, and digital media industry reports) (accessed January 2019). GlobalWebIndex (Q2 & Q3 2018)*; Worldpay Global Payments Report (November 2018). *METHODOLOGY NOTE: GlobalWebIndex conducts a quarterly survey of a panel of 22 million internet users across 45 countries around the world, representing 90% of the world's total internet users. For full details of the company's methodology, please visit http://www.globalwebindex.com/ POPULATION & DEMOGRAPHICS: United Nations World Population Prospects, 2017 Revision; US Census Bureau (accessed January 2019); United Nations World Urbanization Prospects, 2018 Revision. LITERACY RATES: UNESCO Institute for Statistics; UNICEF Data; World Bank DataBank; Pew Research; Ethnologue; IndexMundi; CIA World Factbook; Phrasebase (all accessed January 2019). GDP & FINANCIAL INCLUSION DATA: World Bank DataBank; IMF Data; CIA World Factbook (all accessed January 2019). DEVICE USAGE: Google Consumer Barometer (accessed January 2018). Note that data has not been updated in the past 12 months. INTERNET USERS: InternetWorldStats; ITU Statistics; World Bank DataBank; CIA World Factbook; Eurostat Data Explorer; Facebook's self-serve advertising tools; Techrasa; MidEastMedia.org; local government authorities and telecom regulatory bodies; reports in reputable media (all accessed January 2019). Mobile Internet share based on data from GlobalWebIndex (Q2 & Q3 2018)*, and extrapolations of data reported in Facebook's self-serve advertising tools. Internet connection speed data from Ookla Speedtest (December 2018). Time spent on the internet from GlobalWebIndex (Q2 & Q3 2018)*. World's top websites from SimilarWeb (December 2018) and Alexa (30 days to 16 January 2019). Google search insights from Google Trends (data for full year 2018). Data on use of voice search and ad blockers from GlobalWebIndex (Q2 & Q3 2018)*. Privacy concern insights from Statista Global Consumer Survey 2018. Content streaming insights from GlobalWebIndex (Q2 & Q3 2018)*. Internet use frequency data from Google Consumer Barometer (accessed January 2018). SOCIAL MEDIA USERS: Company earnings announcements; press releases; remarks by senior platform executives at public events; statements on company websites; reports in reputable media. Top messenger platforms from SimilarWeb (December 2018). SOCIAL MEDIA ADVERTISING AUDIENCES: data extracted from each platform's self-serve advertising tools (January 2019 and October 2018). Many data points involve further extrapolations of this data. NOTES ON DATA SOURCES

71. 71. NOTES ON DATA VARIANCE, MISMATCHES, AND CURIOSITIES It's unlikely that one hundred percent of internet users in any given country will use the same social media platform though, so in cases where internet and social media user numbers are the same, it's likely that the actual number of internet users will be higher than the number we've reported. Lastly, a number of metrics that we reported in last year's Global Digital reports have been revised by the original data provider since publication, and as a result, some figures in this year's reports may appear to have changed in unexpected ways. Wherever we're aware of these changes, we've included details in the footnotes of each relevant chart, but please use caution when comparing data from different reports in case the original base has changed. If you have any questions about specific data points in these reports, or if you'd like to offer your organisation's data for consideration in future reports, please email our reports team: reports@kepios.com. This report uses data from a wide variety of sources, including market research agencies, internet and social media companies, governments and public bodies, news media, journalists, and our own internal analysis. Wherever possible, we've prioritised data sources that provide broader geographical coverage, in order to minimise the potential variations between data points, and offer more reliable comparison across countries. However, where we believe that an individual metric provides a more reliable reference, we've used such individual numbers to ensure the most accurate reporting. Furthermore, due to differing data collection and treatment methodologies used by these organisations, and the different sample periods during which data were collected, there may be significant differences in the reported metrics for similar data points throughout this report. In particular, data collected via surveys often vary from one report to another, even if those data were collected by the same organisation using the same approach in each wave. Similarly, reports of internet user numbers vary considerably between different sources. In part, this is because there are fewer commercial imperatives for governments and regulators to collect and publish regular internet user data. However, the user numbers published by social media platforms can be a useful proxy for the number of internet users in countries where no other reliable data are available, because all active social media users must have an active internet connection in order to access social media. These data are also more likely to be updated on a regular basis, as social media companies rely on this data to help sell their advertising products and services. As a result, on occasion, we've used the latest addressable advertising audience data from social media platforms' self-serve advertising tools to inform our internet user numbers, especially in less-developed economies, where 'official' internet user numbers are published less frequently. Consequently, there are a number of instances in this report where the reported number of social media users equals the reported number of internet users.

72. 72. DISCLAIMER AND IMPORTANT NOTES This report has been compiled by Kepios Pte. Ltd. ("Kepios"), We Are Social Ltd. ("We Are Social") and Hootsuite Inc. ("Hootsuite") for informational purposes only, and relies on data from a wide variety of sources, including but not limited to public and private companies, market research firms, government agencies, NGOs, and private individuals. While Kepios, We Are Social, and Hootsuite strive to ensure that all data and charts contained in this report are, as at the time of publishing, accurate and up-to-date, neither Kepios, nor We Are Social, nor Hootsuite shall be responsible for any errors or omissions contained in this report, or for the results obtained from its use. All information contained in this report is provided "as is", with no guarantee whatsoever of its accuracy, completeness, correctness or non-infringement of third- party rights and without warranty of any kind, express or implied, including without limitation, warranties of merchantability or fitness for any particular purpose. This report contains data, tables, figures, maps, flags, analyses and technical notes that relate to various geographical territories around the world, however reference to these territories and any associated elements (including names and flags) does not imply the expression of any opinion whatsoever on the part of Kepios, We Are Social, Hootsuite, or any of the featured brands, nor any of those organisations' partners, affiliates, employees or agents, concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. This report is provided with the understanding that it does not constitute professional advice or services of any kind and should therefore not be substituted for independent investigations, thought or judgment. Accordingly, neither Kepios, nor We Are Social, nor Hootsuite, nor any of the brands or organisations featured or cited herein, nor any of their partners, affiliates, group companies, employees or agents shall, to the fullest extent permitted by law, be liable to you or anyone else for any direct, indirect, punitive, incidental, special, consequential, exemplary or similar loss or damage, or loss or damage of any kind, suffered by you or anyone else as a result of any use, action or decision taken by you or anyone else in any way connected to this report or the information contained herein, or the result(s) thereof, even if advised of the possibility of such loss or damage. This report may contain references to third parties, however this report does not endorse any such third parties or their products or services, nor is this report sponsored, endorsed or associated with such third parties. Except for those portions of this report relating to the perspectives of Hootsuite or We Are Social, this report and any opinions contained herein have been prepared by Kepios, and have not been specifically approved or disapproved by Hootsuite. This report is subject to change without notice. To ensure that you have the most up-to-date version of this report, please visit our reports website at https://datareportal.com.

73. 73. HTTPS://DATAREPORTAL.COM ALLTHENUMBERSYOUNEED CLICK HERE TO ACCESS OUR COMPLETE COLLECTION OF FREE REPORTS: THOUSANDS OF CHARTS PACKED WITH DATA AND TRENDS TO HELP YOU UNDERSTAND DIGITAL BEHAVIOURS IN EVERY COUNTRY ACROSS THE WORLD

74. 74. We are a socially-led creative agency. We are a global team of more than 750 people with a common purpose: to connect people and brands in meaningful ways. We believe in people before platforms and the power of social insight to drive business value. We call this social thinking. We already work with many of the world's top brands, including adidas, Netflix, Samsung, Lavazza, and Google. If you'd like to work with us, visit https://wearesocial.com

75. 75. Hootsuite is the leader in social media management. With our expertise, best-in-breed partnerships, and scale, we'll help your organization succeed with social. Explore how our solution can help: https://hootsuite.com

76. 76. SIMON KEMP @ESKIMON REPORTS@KEPIOS.COM DATAREPORTAL.COM

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Digital 2019 Malaysia (January 2019) v01

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Published on Everything you need to know about mobile, internet, social media, and e-commerce use in Malaysia in 2019. For more reports, including the latest global trends and individual data for more than 230 countries around the world, visit https://datareportal.com/ 1.

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Average of Malaysians spent time on social media in 2019