Chunghwa Telecom is making a bigger play in scripted entertainment, and its latest slate signals just how ambitious Taiwan’s content ecosystem has become. Announced at the Taiwan Creative Content Fest, the Chunghwa Telecom content investments span crime drama, fantasy, action comedy, horror, reality TV and even live music, positioning the telecom giant as a key backer of Taiwanese film and television with global potential.
For viewers, creators and industry watchers, the news matters because it shows how non-traditional media players are helping finance original stories at a time when competition for standout IP is intense across Asia. From the police drama Gunshot to the cross-border feature Call Of Lobster, these projects reflect a clear strategy: build local stories that can travel internationally.
Chunghwa Telecom Content Investments Signal Bigger Ambitions
The latest Chunghwa Telecom content investments were unveiled as part of a broader production slate at TCCF, where the company outlined its commitment to film and TV development. Chunghwa is one of three Taiwanese telecom operators investing in screen content through funds created in partnership with the Taiwanese government.
That public-private model is increasingly important for Taiwan’s creative industries. It gives producers access to deeper financing while helping local stories compete in a regional market dominated by large streaming platforms and studio-backed franchises.
Chunghwa’s recent track record also adds credibility to the strategy. Previous investments include:
- Arrested Memory, a Japan-Taiwan co-production directed by Sabu
- The Photo From 1977, directed by Frank Cheng and Sheng-Jung Tang
- A combined 12 Golden Horse Awards nominations for those two titles
Those results suggest the company is not simply funding content for volume. It is backing projects with festival appeal, awards potential and cross-border visibility.
‘Gunshot’ Leads The New Drama Slate
Among the most talked-about Chunghwa Telecom content investments is Gunshot, an eight-part police crime drama starring Kent Tsai. The series also features Chan Tzu-Hsuan, Cheng Chih-Wei, Lu Hsiao-Fen and Mark Lee.
The premise centers on three police officers whose competing views of justice collide inside a system that rewards visibility over integrity. That setup gives Gunshot room to explore moral conflict, institutional pressure and the personal cost of public service—elements that often resonate strongly with crime drama audiences.
The series is produced by PTS Taigi TV alongside S11 Partners and Third Culture Content, giving it a mix of local authenticity and international packaging potential.
Why ‘Gunshot’ Could Break Through
- It taps into enduring audience interest in gritty law-enforcement storytelling
- Its justice-versus-image theme feels timely and universal
- The production team combines public broadcasting roots with commercial ambition
- Kent Tsai adds recognizable star power for regional audiences
‘Call Of Lobster’ Adds Star Appeal And International Flavor
Another major entry in the Chunghwa Telecom content investments slate is Call Of Lobster, a cross-border action comedy starring Chang Chen and Super Junior member Choi Siwon. Directed by Yin Chen-hao and produced by Calendar Studios, the film is loosely inspired by the unusual true story of a Taiwanese lobster farmer who offered his services to the North Korean government.
That premise alone makes the project stand out. It combines offbeat real-world inspiration with commercial genre ingredients, making it easier to market both at home and abroad. Chunghwa joined the film after it won the Chunghwa Telecom Award at TCCF in 2024, and Taiwan’s Ministry of Culture is also supporting the production.
With Chang Chen’s arthouse prestige and Choi Siwon’s international fanbase, Call Of Lobster could become one of the most export-friendly titles in the lineup.
More Series And Film Projects On The Slate
The newest Chunghwa Telecom content investments go well beyond one crime series and one feature film. The broader lineup shows a deliberate spread across genres and audience segments.
Additional TV Projects
- Yesterday’s Daughter, Tomorrow’s Mother — a family fantasy series created by producer Phoebe Ma and director Hung Tzu-peng
- Guides To The World Below — a fantasy adventure adapted from a popular Taiwanese comic
- C’est La Vie — an urban drama blending food, city life and women’s personal growth, with Esther Liu as executive producer
Additional Film And Unscripted Projects
- Demon Of The East – Black Condo — part of a horror cinematic universe stretching across four Asian countries
- Next Z Chef — a reality cooking format
- Shallow Levée’s Speak in Silence Asian tour — expanding support beyond screen content into music-driven entertainment
This range suggests Chunghwa is diversifying risk while building a recognizable entertainment footprint. Instead of relying on a single prestige genre, it is supporting franchises, adaptations, lifestyle programming and star-led features.
Why Taiwan’s Telecom-Backed Content Model Matters
The rise of Chunghwa Telecom content investments says something bigger about the future of Asian media financing. Telecom operators already control major digital infrastructure, subscriber relationships and distribution channels. By stepping into production and co-financing, they can influence not just how audiences consume media, but what gets made in the first place.
Taiwan’s Minister of Culture Li Yuan praised Chunghwa’s role, describing the company as an institution willing to support creators beyond its core business. Meanwhile, senior executive vice president Lin Wen-chiyh emphasized that Chunghwa wants to connect funding, talent and domestic and international partners to help Taiwanese stories reach global markets.
That goal aligns with several industry trends:
- Rising demand for localized stories with international appeal
- Growing importance of co-production finance
- Audience appetite for Asian crime dramas, genre films and comic adaptations
- The need for alternative investors beyond streamers and broadcasters
If the strategy works, Taiwan could strengthen its position as a source of premium scripted content in the Asia-Pacific region.
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Conclusion
The latest Chunghwa Telecom content investments show a telecom company evolving into a meaningful entertainment stakeholder. With Gunshot, Call Of Lobster and a genre-diverse slate behind it, Chunghwa is helping fuel a new phase for Taiwanese storytelling—one built on strategic financing, creative range and international ambition. If these Chunghwa Telecom content investments deliver artistically and commercially, they could become a blueprint for how infrastructure giants shape the future of TV and film in Asia.
