SINGAPORE: Singapore is accelerating efforts to attract major international studios and streaming giants, in hopes of developing content in multiple formats that can resonate with audiences around the world.
This strategic push is what Senior Minister of State for Digital Development and Information Tan Kiat How believes is essential to help the country’s creative media industry stay ahead.
In an interview with CNA on Dec 4, he warned that Singapore may lose its competitive edge on the global stage if it does not keep up.
Audiences are consuming content on more screens than ever before, from cinema halls and televisions to mobile phones and emerging digital platforms.
At the same time, new technologies such as artificial intelligence are reshaping how stories are conceived, produced and distributed.
These disruptions are both a challenge and an opportunity, said Mr Tan.
“There are new desires for interesting stories to be told. In the past, you had very mainstream media from the western part of the world or Japanese animations, but now there's huge demand for different TV formats and different stories,” he added.
To harness these opportunities, Mr Tan recently unveiled one of Singapore’s most ambitious media initiatives yet: the Talent Accelerator Programme (TAP).
The S$200 million three-year programme, launched on Dec 3 at the Asia TV Forum and Market 2025, is aimed at developing stories with global appeal and cementing Singapore’s role as a co-production hub.
The programme will also create structured pathways for talent at different stages of their careers.
For example, young creators will receive mentorship from industry veterans, as well as access to masterclasses taught by award-winning international experts.
“There are many who are not just about film writers or script writers, but they may want to go into deeper technical capabilities and now have (the) pathway to do so,” Mr Tan said.
One of the most promising media trends worldwide, Mr Tan noted, is the surging appetite for Asian content.
Mr Tan cited examples like the hit South Korean dystopian survival drama Squid Game, as well as the Japanese manga series Demon Slayer and Chinese fantasy folklore animation Ne Zha.
“There's a desire for Asian content, so that fits to our strength,” he added.
On top of that, Singapore – situated in a “good position at the intersection of East and West” – is well placed to serve as a creative bridge between cultures, Mr Tan said.
A trailer for Ne Zha 2 is screened at a cinema in Beijing on Feb 6, 2025. (Reuters/Florence Lo)
But to do so, he pointed out that the industry must look beyond the traditional notion of what “Singapore content” is.
“It's not just about telling Singapore stories. It's not just about the content being developed and made entirely by Singaporeans or Singapore-based companies. You have to think about Singapore content more broadly,” he added.
Instead, Mr Tan said there is a need for a “made with Singapore” approach – productions developed in collaboration with global players, but infused with distinctive Singaporean talent, technology or creative influence.
Another trend in today’s fiercely competitive media environment is micro-dramas – rapid-fire episodic videos lasting mere minutes.
“It’s so popular that in China, I'm told that the entire revenue from micro-dramas surpassed the entire box office revenue in China cinemas. And that's quite surprising, because the revenue for box offices in China is still rising. (Yet) this format is taking the world by storm,” Mr Tan noted.
Traditional broadcasters, including Mediacorp, are experimenting with the format, he said.
“Even our players who are in the more conventional, traditional space are embracing new formats and new technology, and that has to be our way,” he added.
Beyond short-form content, technological innovation is also reshaping workflows, said Mr Tan.
Virtual production tools, which allow filmmakers to create digital environments without going outdoors on location, are reducing costs and expanding creative possibilities.
These tools could help Singapore punch above its weight in the global market, Mr Tan added.
Acknowledging gaps in Singapore’s media ecosystem, Mr Tan was frank about the country’s limitations.
“We cannot compete on cost. We are not the cheapest place to do filming, or a place where you can find locations in which the production is the cheapest, but we are competing on value. We are competing on capabilities that you may not be able to find anywhere else in the region,” he said.
“(It’s with) this mindset (and with) TAP to bring the ecosystem together – from project development to production, distribution, marketing, IP financing and a business environment.”
The momentum at this year’s Singapore Media Festival, for example, points to the country’s growing relevance as a hub for regional and international collaboration, Mr Tan added.
He added that Singapore’s position as a neutral and trusted partner makes it an attractive destination for global studios seeking to co-produce content for Asian and international audiences.
“We are a trusted platform to bring together international players … to let the sparks fly, and to bring projects from ideas to the screen,” he said.
Looking ahead, Mr Tan believes Singapore has a critical but time-sensitive window to cement its role as a global media innovation hub – but he warned that failure to act quickly could have consequences.
“If we don't seize this opportunity … I think we will lose out in terms of relevance and our competitiveness, vis-a-vis many other jurisdictions and markets that also want to be in a similar position,” he noted.
Mr Tan said that ultimately, Singapore’s success will depend on collaboration, creativity and the ability to leverage its strengths.
“We are not competing on cost - we are competing on value, capabilities, and trust, and we have to make full use of these assets,” he added.
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This strategic push is what Senior Minister of State for Digital Development and Information Tan Kiat How believes is essential to help the country’s creative media industry stay ahead.
In an interview with CNA on Dec 4, he warned that Singapore may lose its competitive edge on the global stage if it does not keep up.
Audiences are consuming content on more screens than ever before, from cinema halls and televisions to mobile phones and emerging digital platforms.
At the same time, new technologies such as artificial intelligence are reshaping how stories are conceived, produced and distributed.
These disruptions are both a challenge and an opportunity, said Mr Tan.
“There are new desires for interesting stories to be told. In the past, you had very mainstream media from the western part of the world or Japanese animations, but now there's huge demand for different TV formats and different stories,” he added.
To harness these opportunities, Mr Tan recently unveiled one of Singapore’s most ambitious media initiatives yet: the Talent Accelerator Programme (TAP).
The S$200 million three-year programme, launched on Dec 3 at the Asia TV Forum and Market 2025, is aimed at developing stories with global appeal and cementing Singapore’s role as a co-production hub.
The programme will also create structured pathways for talent at different stages of their careers.
For example, young creators will receive mentorship from industry veterans, as well as access to masterclasses taught by award-winning international experts.
“There are many who are not just about film writers or script writers, but they may want to go into deeper technical capabilities and now have (the) pathway to do so,” Mr Tan said.
Related:
APPETITE FOR ASIAN STORIES
One of the most promising media trends worldwide, Mr Tan noted, is the surging appetite for Asian content.
Mr Tan cited examples like the hit South Korean dystopian survival drama Squid Game, as well as the Japanese manga series Demon Slayer and Chinese fantasy folklore animation Ne Zha.
“There's a desire for Asian content, so that fits to our strength,” he added.
On top of that, Singapore – situated in a “good position at the intersection of East and West” – is well placed to serve as a creative bridge between cultures, Mr Tan said.
A trailer for Ne Zha 2 is screened at a cinema in Beijing on Feb 6, 2025. (Reuters/Florence Lo)
But to do so, he pointed out that the industry must look beyond the traditional notion of what “Singapore content” is.
“It's not just about telling Singapore stories. It's not just about the content being developed and made entirely by Singaporeans or Singapore-based companies. You have to think about Singapore content more broadly,” he added.
Instead, Mr Tan said there is a need for a “made with Singapore” approach – productions developed in collaboration with global players, but infused with distinctive Singaporean talent, technology or creative influence.
RISE OF MICRO-DRAMAS
Another trend in today’s fiercely competitive media environment is micro-dramas – rapid-fire episodic videos lasting mere minutes.
“It’s so popular that in China, I'm told that the entire revenue from micro-dramas surpassed the entire box office revenue in China cinemas. And that's quite surprising, because the revenue for box offices in China is still rising. (Yet) this format is taking the world by storm,” Mr Tan noted.
Traditional broadcasters, including Mediacorp, are experimenting with the format, he said.
“Even our players who are in the more conventional, traditional space are embracing new formats and new technology, and that has to be our way,” he added.
Beyond short-form content, technological innovation is also reshaping workflows, said Mr Tan.
Virtual production tools, which allow filmmakers to create digital environments without going outdoors on location, are reducing costs and expanding creative possibilities.
These tools could help Singapore punch above its weight in the global market, Mr Tan added.
Related:
ROOM FOR IMPROVEMENT, LOOKING AHEAD
Acknowledging gaps in Singapore’s media ecosystem, Mr Tan was frank about the country’s limitations.
“We cannot compete on cost. We are not the cheapest place to do filming, or a place where you can find locations in which the production is the cheapest, but we are competing on value. We are competing on capabilities that you may not be able to find anywhere else in the region,” he said.
“(It’s with) this mindset (and with) TAP to bring the ecosystem together – from project development to production, distribution, marketing, IP financing and a business environment.”
The momentum at this year’s Singapore Media Festival, for example, points to the country’s growing relevance as a hub for regional and international collaboration, Mr Tan added.
He added that Singapore’s position as a neutral and trusted partner makes it an attractive destination for global studios seeking to co-produce content for Asian and international audiences.
“We are a trusted platform to bring together international players … to let the sparks fly, and to bring projects from ideas to the screen,” he said.
Looking ahead, Mr Tan believes Singapore has a critical but time-sensitive window to cement its role as a global media innovation hub – but he warned that failure to act quickly could have consequences.
“If we don't seize this opportunity … I think we will lose out in terms of relevance and our competitiveness, vis-a-vis many other jurisdictions and markets that also want to be in a similar position,” he noted.
Mr Tan said that ultimately, Singapore’s success will depend on collaboration, creativity and the ability to leverage its strengths.
“We are not competing on cost - we are competing on value, capabilities, and trust, and we have to make full use of these assets,” he added.
Continue reading...