Decoding the Role of Team Mediacorp Commissioning Editors with Dongli Lin

As the credits begin scrolling at the end of your favourite drama, you will notice a myriad of names – each contributing to the work of art you witness on screen. Of these many contributors, our commissioning editors play a pivotal role. From drafting contracts and monitoring viewership to evaluating casting choices and providing feedback on scripts, our colleagues are there every step of the way, from concept to premiere, pre- to post-production.

To better understand this behind-the-scenes vocation, we sat down with Dongli Lin, the Content Commissioning Editor who’s worked on English titles such as Last Madame, Sisters of the Night, Downstairs, Third Rail, Sunny Side Up and more. The collaborative work on these titles have garnered accolades: most recently, the Asian Academy Creative Awards saw Andie Chen winning “Best Actor” for Third Rail, which also took home “Best Special Effects in a TV series” and “Best Sound”. The accolades don’t stop there – Rebecca Lim and Gini Chang have been nominated for “Best Leading Actress” and “Best Newcomer Actress” at the Asia Contents Awards & Global OTT Awards for their work on Third Rail and Sisters of the Night respectively.

Birthing Last Madame and its prequel, Sisters of the Night

Dongli’s pride in Last Madame is palpable. Set in a brothel in early 1940s Singapore, the English series marked Mediacorp’s first foray into M18-rated content – and was highly successful at that, as it attracted global audiences across mewatch, HBO and Netflix, and even aboard Singapore Airlines. Crowned “Best Asian Drama” at the Busan International Film Festival 2020, Last Madame was also a finalist in multiple categories at the New York Festivals TV & Film Awards 2020.

“Last Madame was the most watched English digital series released in 2019,” Dongli shared. “It sparked conversations around sex workers, and was widely praised in media for its production value and cast performances.” Its exceptional performance set the gears in motion for an M18-rated prequel, Last Madame: Sisters of the Night, released in July. This time, it’s set in a Japanese brothel in 1920s Singapore, then a hotbed of espionage. What went on behind the commissioning process?

“Sisters of the Night fleshes out the backstory of Fung Lan (Joanne Peh) and Ah Yoke (Lina Ng), whom we observed were two of the most popular characters in Last Madame. These sentiments were echoed by a focus group we did with audiences across different age groups, so we decided to dive into their parallel survival stories before their worlds collided – offering viewers a glimpse into how Fung Lan went from living a life of oppressive luxury to becoming a brothel owner, and how Ah Yoke went from a prostitute to becoming Fung Lan’s loyal helper, explaining their sisterhood in Last Madame.”

And as for its M18 rating? “There were several factors contributing to its higher rating, mature themes being one. However, the story can only be told authentically if certain themes and storylines are explored. The teams involved had many long conversations, discussions, debates, sleepless nights – this was especially the case with Last Madame, Mediacorp’s first M18-rated series. Nothing is easy when setting out to be the first to do anything. But it paid off and it was a risk worth taking, and we hope its popularity will continue with Sisters of the Night.”

It has indeed continued: since our interview with Dongli, Sisters of the Night has clinched ““Best Original Production by a Streamer/OTT” at the Asian Academy Creative Awards, with actress Min Jin Oh clinching “Best Supporting Actress” and its Director Rowena Loh going home with “Best Fiction Direction”.

A Day in the Life

When asked about a day in his life, the first thing that Dongli emphasises is the importance of project management and staying on top of things. “As we handle multiple projects simultaneously, it’s important for us to check in for updates,” he explains. “Every single project has a different production timeline. Some have a production runway of six months, some as long as two years. So it’s important to continually check in on the different production milestones of our assigned titles.”

“Checking in”, of course, is an understatement. At its heart, commissioning editors are tasked with working with in-house studios and external production houses to create, develop and realise ideas, transforming them into quality productions across platforms. Broken down into specifics, responsibilities include sifting through scripts and concepts for alignment with audience needs; developing briefs with production teams; ensuring that programmes are delivered on time and on budget; and collaborating across internal teams, such as Commercial to attract sponsors, and Corporate Marketing and Communications to engage media and pique public interest.

Amidst this intricate web of tasks, Dongli finds his true muse in the creative dimensions – commissioning editors, too, are responsible for providing creative leadership, and to encourage risk taking and innovation. "The most fun aspects of the job includes participating in writers room sessions to develop stories together, evaluate casting choices, and give notes on scripts and screeners,” he quipped.

Selecting and Commissioning Shows

With an innumerable number of storylines to choose from, the task of sifting through pitches and selecting the most interesting ones is no easy job. So, how do they know which stories to choose? According to Dongli, local relevance and global appeal are paramount.

“As the national media network, Mediacorp is on a constant look out for content that is authentic, local, relatable to viewers, and which covers impactful social issues,” Dongli shared. “We also look for shows with the potential for breaking new ground, which challenges creative boundaries in scale and production quality, and which can reach beyond Singapore.”

Advice for Aspiring Commissioning Editors

For those aiming to step into his shoes, Dongli’s advice is clear: “A commissioning editor’s job is a unique blend of strategic planning, creative development and project management that grants you privileged access to the minds of many creatives, both behind and in front of the camera. So, stay curious, strive to understand the varying perspectives of all the teams you work with, and aspire to commission shows that both you and the audience will enjoy watching.”

Catch Last Madame: Sisters of the Night on mewatch and the Mediacorp YouTube Drama Channel now!