Watch Taiwan's Our Blues Remake on Netflix From December 3

Taiwan's state-backed content agency and its partners have invested NT$5.64 billion, about $180 million, in 27 film, television, music and stage projects, the agency's chair said at an industry festival in Taipei. ^[1]

The chair, Sue Wang of the Taiwan Creative Content Agency, known as TAICCA, spoke at the Taiwan Creative Content Fest, which runs November 6-9. ^[4] The figure comes from her remarks as reported by Variety. No itemised list of the 27 projects, with amounts and dates, has surfaced yet.

The split matters as much as the total. Variety reported that NT$740 million came from TAICCA and NT$4.9 billion from private capital. ^[1] That makes the agency's share about 13 percent. The state is acting less as a banker than as the first name on a cheque that others sign.

A slate with something for every market

TAICCA is a government agency set up by Taiwan's Ministry of Culture in 2019. It backs content from development through production, distribution and overseas marketing, across film, television, music, gaming and performing arts. ^[3]

It presented the 27 projects through four joint ventures: the Chunghwa Digital Cultural and Creative Fund, Enjoy Entertainment Limited Partnership, the momomini Kids Content Fund and Joint Journey Creative. Wang said their partnerships span nine countries. ^[1]

The headline act is a Taiwanese remake of Our Blues, the 2022 Korean series. It comes from Enjoy Entertainment, a partnership between TAICCA and the telecom Far EasTone, and is due to launch globally on Netflix on December 3. ^[1] That is 25 days after Variety's report of the presentation.

A Taiwanese studio remaking a Korean hit is a small irony. South Korea is the country every Asian culture ministry points to when it talks about exporting stories. Taiwan is buying into the format and retelling it in its own voice.

Enjoy Entertainment said it invested in 15 projects in its first 10 months, eight in film and television and seven in music and live events. ^[1] The music side includes the ID. Music Festival, developed with Spotify, and Her Voice, a concert with five female performers from Taiwan and South Korea. It also includes Shallow Levée's Speak in Silence, an anniversary album with collaborations with Japanese and Korean musicians and a planned tour of about 50 shows across Taiwan and eight other Asian countries. ^[1]

From Hakka cartoons to Broadway's fringe

The stage entry is VMTheatre Company's Don't Cry, Dancing Girls the Musical, presented at the event as the first Taiwanese musical to reach Off-Broadway. ^[1] Where and when it will play has not been reported.

The momomini Kids Content Fund, launched in December 2025, has made six investments: three in animation, two in live-action and one in drama. One is Mogu & Perol, a 39-episode series in which six or seven episodes feature Hakka culture, the heritage of one of Taiwan's communities. Another is Mountain Adventure Squad 2, slated for the first quarter of 2027. ^[1]

Joint Journey Creative lists the Taiwanese films The Damp, All Money Back My Home and Suffocation, and season six of the Japanese series Midnight Diner. ^[1] The Chunghwa fund, which totals NT$1 billion, lists Call of Lobster, an action comedy spanning Taiwan and South Korea, and C'est la Vie, an eight-episode drama starring Esther Liu, who is also an executive producer. ^[1]

Taken together, the list is a portfolio, not a single national story. Some of it is local culture for local viewers, some co-produced with Korea and Japan, and some aimed at global streaming.

The bet is on intellectual property

Wang has been plain about what she wants from all this. In an interview with Variety days before the festival opened, she put the commercialization of intellectual property first: content companies should build viable business models, turn their properties into licensable brands and reach audiences across markets. ^[2] She said that more investment alone will not create sustainable growth without business models tested in the market. ^[2]

That explains the structure. A fund that holds a share in a children's series, a concert tour and a drama can hope to earn from the same property again and again, not only from one release. The kids' fund is the clearest case, since an animated series can be licensed, extended and sold abroad long after the first broadcast.

The $180 million sits beside a larger pot of public money, but it is a separate one. Taiwan's culture minister, Li Yuan, said the National Development Fund's second NT$10 billion tranche, about $303 million, is being invested in films, series, comics, publications, animation, streaming platforms and companies that create content. ^[4] Nothing in the reporting says that tranche is part of the 27-project total.

Another Variety report said TAICCA has also partnered with the effects house Weta FX to try to make Taiwan an AI screen production hub. ^[3] That deal is separate from the slate.

What the festival cannot prove

A total announced on a stage is a claim of intent and spending, not a result. It is not yet known how much of the NT$5.64 billion has been deployed and how much is committed or approved. Nor is it known how TAICCA and its partners will measure returns or audience reach.

The first real tests come soon. The Our Blues remake arrives on Netflix on December 3, and Mountain Adventure Squad 2 is due in the first quarter of 2027. ^[1] Those will show whether Taiwan's money buys audiences or only festival attention. The festival closes on November 9, and the agency has more time to publish what it has actually bought.