Taiwan's TV fevers reflect a society spoiled for choice.
Draped languidly on the side of buses to advertise cosmetics and with her love life plastered across the tabloids, Little S is surfing a tsunami of media success. The tectonic shift in her fortune came about with the heraldic "Here Comes Kang Hsi!" Not the sound of the Qing emperor's approach, but the name of a TV chat show that she cohosts. If it is true that the customer is king, that the audience gets what it wants, then the fever spread by wildly popular TV programs reveals a society hooked on relaxing with celebrity, superstition and foreign drama.
Lost in the Stars
Little S has talked with a range of celebrities and oddballs from Vice President Lu Hsiu-lien to singing superstar Jay Chou since "Here Comes Kang Hsi!" first aired in January 2004. It has become a raging success and constantly scores the highest TV ratings. Her cohost, Tsai Kang-yung, and Little S, or Hsu Hsi-ti, from whose names the TV Kang Hsi is derived, are renowned for their relaxed interview styles. She is a little wacky, and he provides the insightful questions, and together they probe their guests' interior lives rather than professional personae.
They put their guests at ease and are able to coax previously unknown information out of them in ways that intrigue the audience. The pair's on-screen chemistry is key to the show's success, says Chen Hao, senior vice president of CTI Television Inc. He thinks the popularity of "Here Comes Kang Hsi!" reflects a new generation of programs that delivers entertainment and relaxation, merriment and escape from political and social issues.
"TV programs should be entertainment-oriented since that's what the audience wants," Chen says. "There were too many political talk shows here, and the audience was fed up with them, so we produced a program that was fun, youthful, alternative and nonpartisan. Hopefully, it brings some much-needed joy to Taiwanese society and helps people relax."
The show is tailored for viewers between the ages of 15 and 50, who are predominantly female and the favored target group of big-budget advertisers. The market has also proven much bigger than Taiwan alone. In addition to its popularity in Hong Kong and Singapore, "Here Comes Kang Hsi!" was listed as the most popular entertainment show by the China-based New Weekly in 2004, despite the fact that it has not been formally released there.
Fatal Attraction
While the cult of celebrity has gained broad cable popularity, superstition in the guise of fortunetelling has also made its mark. Launched in 2000 by Eastern TV, "Written in the Stars" was the innovator of such post prime-time programs. "Fortunetelling programs used to dwell on dark forces, disorder, the extraordinary and the supernatural. They were pumped up with ghastly backdrops and background music," says Pan Su-chuan, vice president of Eastern Power Co. "We tried to break that convention by introducing a program that was more urbane, informative and entertaining."
Pan says her program aims to target the same group of viewers as those who watch "Here Comes Kang Hsi!" Consequently, "Written in the Stars" has the host chatting with guest astrologers, numerologists and entertainers about careers, fortune, health and love--things the public are most concerned with.
"In the past, fortunetelling programs would find a case, a haunted house for example, and ask a feng shui master to comment on how bad this family's luck had been. Seeing such a program often left audiences feeling disturbed," she says. "For a change, our show addresses issues that the audience can identify with and relate to in an interesting and lively way."
Brightly colored and modern backdrops were used to give the program an upbeat touch. Pan asks guest astrologers and numerologists to avoid using jargon and explain theories in the most readily understandable way to audiences. Masters offer tips on how to solicit good fortune and fruitful love lives and how to avoid bad luck. These suggestions usually involve, for example, arranging flowers in the bedroom or placing coins in the corner of the living room--things that do not cost much or affect daily routines, Pan adds.
"The audiences don't need to believe what is stated on our program, but they can take it as reference, particularly when they are at a low ebb or feeling directionless," Pan says. "In a way, our program acts like a psychological consultant, giving advice and comfort to those with troubled minds."
In addition to analysis of zodiac signs and IQ tests, the audience can receive advice on how to adjust their characters and ways of handling things to improve their personal relationships and luck.
Pan's production strategies seem to have worked well. With a consistently high score on ACNielsen's Television Ratings scale, "Written in the Stars" has spawned six imitators and is broadcast in North America, Hong Kong and China via satellite or videotape. "The life cycle for popular TV programs is an average of two to three years," she says. "So at five years, 'Written in the Stars' is one of the few exceptions."
The factor sustaining the program's success appears to be the widely held belief in fortune or fate, based on the 12-year zodiac cycle, time of birth, and facial and hand lines, that is deeply rooted in Taiwanese culture. "When you ask 10 Taiwanese people if they've ever been to a fortuneteller, regardless of variety, I believe that eight will give you a positive answer," Pan says. "Nowadays, 'What's your star sign?' is a common conversation starter."
In addition, Pan thinks the growing popularity of fortunetelling programs is closely related to changes in the greater environment in Taiwan. The economic downturn in recent years, in particular, she believes, has caused many people to feel uncertain about their current economic position and the future. "They are confused about whether they should change jobs and anxious to know if they should invest in or relocate to China to seek opportunities," she says. "They find solace and direction in watching fortunetelling shows."
Seoul Obsession
Such is the nature of superstition. A surer thing is the rash of dramatic TV series made in South Korea that has swept Taiwan off its feet. The leading actors of "All About Eve," Chae Rim and Jang Dong Gun, are tracked by swarms of adoring fans from the moment they disembark at the airport.
James Yeh, of Videoland Television Network, says his station began to import Korean dramas in an attempt to expand its audience base and boost its overall market share. "All About Eve" was its first launch in 2001 and turned out to be such a big hit that his station added more Korean dramas in the 7 p.m. and 10 p.m. time slots.
Yeh says they found that audience loyalty to and demand for Korean dramas have been much higher than expected. Videoland currently imports 15 to 20 Korean dramas a year running the gamut from love to history.
The South Korean TV industry, with government support, has upgraded its production capabilities significantly. With more sophisticated production resulting from investments of around NT$1 million (US$31,750) per episode, the selling points of Korean dramas, Yeh says, are their compelling themes and well-written plots, as well as their propensity to launch cast members into stardom. He also thinks that the sudden emergence of Korean dramas stems from Taiwanese audiences' acceptance of foreign culture.
Domestic TV stations have all jumped on the bandwagon; at least five Korean dramas are currently showing and their stars frequently visit Taiwan on publicity junkets for the shows or other Korean brands.
As a result of the high demand from Taiwan and other Asian nations, Korean dramas are getting more expensive. This is due in part to limited supply; there are only three production companies turning out the series. Yeh says for the time being Korean dramas that receive good ratings remain the object of corporate advertising budgets and satisfy Videoland's designated investment return rate.
The surge in imports has triggered both positive and negative reactions. Detractors argue that Korean dramas have taken over prime time and squeezed out Taiwanese entertainment. Supporters retort that the entry of Korean dramas into Taiwan is a natural consequence of free-market competition and is inevitable. It stimulates the domestic industry to upgrade while providing the audience with more choice.
Cheng Tzu-leong, professor in the Department of Advertising at National Chengchi University (NCU), views popular TV programs from four functional perspectives: socially informative, decision-making, educational and entertainment. He says most popular TV is entertainment, and it basically reflects a shallow popular culture and the general public taste.
Cheng thinks that "Here Comes Kang Hsi!," for example, is so popular because audiences find their moods improve after watching it. Its popularity also indicates a social shift toward openness and diversification in that the voice of youth resonates. He posits that the traditional authority of seniority is challenged and the interpretation of social values is no longer exclusively controlled by the elderly. "That's a good thing," he says. "Overall, such a program is mere recreation and does not have either positive or negative impact on society."
Cheng is, however, concerned about the growing popularity of fortunetelling programs. He says they may cause viewers to think irrationally and mislead them in decision-making processes. "The buildup of superstition and an anti-science mentality is certainly not a good phenomenon for Taiwanese society," Cheng says.
As for Korean dramas, Cheng thinks the reasons for the fad, in addition to entertainment, are that the programs are socially informative and educational as well. For example, some of them help the audience understand the history, society and expectations of Korean people like themselves and in this way broaden their view of the world.
Su Herng, professor in NCU's Department of Journalism, says the popularity of Korean programs indicates that Taiwanese audiences were not averse to watching drama, but that they wanted to watch high-quality drama.
Celebrity, superstition and drama have captured the imagination of local audiences and kept them glued to their TV sets. While "Here Comes Kang Hsi!" has catapulted Little S to fame, marriage and the society pages, television has given viewers the simple luxury of greater choice.