Hu Gua Highlights Subsidy Hurdles and Music Copyright Issues at CTS Anniversary
- Hu Gua stated that his application for the “Diamond Stage Night” concert was rejected for individual status, netting just NT$200,000 while questioning why certain subsidized programs lack local cultural connections.
- The veteran host pointed out persistent music copyright hurdles in television production, noting that songs cleared for a program’s first season often cannot be broadcast in the second season.
- Despite traditional television ratings and financial pressures—which Hu likened to moving from intensive care to a general ward—programs like Weekend Powerhouse achieve million-view digital traffic and recently won a Golden Bell Award.
Subsidy Criteria and Programming Choices Under Scrutiny
Appearing alongside fellow hosts Chen Ya-lan, Ou Han-sheng, and Chang Wen-chi at the CTS anniversary press conference on October 30, 2026, Hu Gua detailed his recent interactions with government funding bodies. He explained that he personally visited the Ministry of Culture to seek financial backing for the “Diamond Stage Night” concert, only to be told that grants target registered social groups rather than individual practitioners.
Hu expressed puzzlement over the distribution logic of cultural subsidies. He questioned the allocation of funds to projects that appear disconnected from local cultural promotion, pointing specifically to the Hakka Television Station. He noted that while the station’s core mission centers on promoting the Hakka language, it has featured Korean hosts to drive viewership—a programming strategy he found peculiar and conceptually unclear regarding its adherence to official cultural aims.
Copyright Restrictions Hamper Production Schedules
Beyond funding friction, Hu revived long-standing complaints regarding television music copyrights. Production teams face a fragmented regulatory environment where musical tracks cleared for an initial season frequently lose clearance by the second season. With production schedules demanding a new episode every three days, teams must constantly screen and filter playable tracks.
This administrative burden compounds the financial and logistical strain facing traditional broadcast networks. Hu described the broader state of television variety shows as having previously resided in intensive care, though he acknowledged that digital metrics offer a reprieve. Programs are currently generating over a million views online, shifting the industry’s recovery status to a general ward despite ongoing financial deficits.
CTS Celebrates 55 Years Amid Industry Evolution
The disclosures came during celebrations marking the 55th anniversary of CTS, which launched on October 31, 1971. Public broadcasting group chairman Hu Yuan-hui and CTS general manager Hsieh Hsi-ling hosted the anniversary events, honoring employees with decades of service and reflecting on the network’s extensive archive of classic dramas, variety shows, and news programming.
The anniversary event also highlighted current programming successes, including the variety show Weekend Powerhouse, hosted by Hu Gua, Chen Ya-lan, and Ou Han-sheng, which secured the award for Best Variety Program at the 61st Golden Bell Awards. Producer Liu Teh-hui noted the long-standing collaboration with Hu dating back to the original Diamond Stage, illustrating the enduring production lineage being celebrated by the network.
| Event / Milestone | Key Participants | Details & Recognition |
|---|---|---|
| CTS 55th Anniversary | Hu Yuan-hui, Hsieh Hsi-ling | Celebrated broadcasting history since October 31, 1971, honoring employees with up to 40 years of service. |
| Golden Bell Recognition | Hu Gua, Chen Ya-lan, Ou Han-sheng | Weekend Powerhouse won Best Variety Program at the 61st Golden Bell Awards. |
| Subsidy and Copyright Critique | Hu Gua | Addressed funding rejections for “Diamond Stage Night” and ongoing music clearance limits between seasons. |
While traditional broadcast metrics face persistent economic headwinds, the expansion of digital viewership provides a vital lifeline for production teams navigating these regulatory and financial hurdles. As CTS enters its 56th year, the intersection of government policy, copyright reform, and digital distribution will continue to dictate the viability of large-scale variety entertainment.
