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Programs like Super Sunday hosted by Jacky Wu, and later Kangsi Coming (hosted by Kevin Tsai and Dee Hsu), pioneered a freewheeling, irreverent style of celebrity interview and sketch comedy that contrasted sharply with the more formal variety shows of Hong Kong or mainland state television.
Beginning with Meteor Garden (2001)—based on the Japanese manga Boys Over Flowers —Taiwan revolutionized youth-oriented television. The series exploded across China, Southeast Asia, and even parts of the Middle East, launching the careers of F4 and establishing a formula of aspirational romance, urban settings, and catchy soundtracks. Other hits like The Prince Who Turns into a Frog (2005) and Fated to Love You (2008) cemented Taiwan as the prime exporter of romantic comedy formats. asiaxxxtour taiwan
Taiwan’s media industry is characterized by a mixed model of private production companies and broadcast networks (e.g., TTV, SETTV, FTV, PTS). The government’s Bureau of Audiovisual and Music Industry Development (BAMID) provides grants and tax incentives, though budgets remain modest compared to South Korea’s cultural export strategy. Programs like Super Sunday hosted by Jacky Wu,
Taiwan became the undisputed center of Mandarin popular music following the lifting of martial law in 1987. Record labels like Rock Records and Forward Music cultivated singer-songwriters who prioritized lyrical sophistication and emotional authenticity. Icons such as Teresa Teng (Deng Lijun), Jonathan Lee, and later pop stars like Jay Chou, A-Mei (Chang Hui-mei), and Jolin Tsai set regional standards. Throughout the 1990s and 2000s, the “Golden Melody Awards” (GMA) became the Grammy equivalent for Mandarin music. Other hits like The Prince Who Turns into
Facing a shrunken Chinese market, Taiwan’s media has adapted by embracing global over-the-top (OTT) platforms (Netflix, Disney+, HBO Asia, and regional players like Viu) and by creating distinctly “Taiwanese” content that appeals to international audiences.
The Soft Power of the Island: Evolution, Influence, and Challenges of Taiwan’s Entertainment Content and Popular Media