When the Taiwanese political drama Wave Makers appeared in April 2023, few anticipated its impact beyond the screen. Within weeks, survivors in politics, the media, academia and the arts began sharing experiences of sexual harassment and assault, giving momentum to Taiwan’s long-delayed #MeToo movement.

XinLing Li’s new book, Wave Makers and the Rise of #MeToo in Taiwan: Media, Empathy, and Digital Testimony (Anthem Press, 2026), asks how a fictional series became a cultural catalyst. Li argues that the drama gave form to experiences that had remained unspoken, while social media allowed personal testimony to circulate without institutional permission.

The book is part of the new short-book series, ‘Anthem Impact in Asian Media, Cinema and Communications’.

In this podcast, Dr Ming-yeh T. Rawnsley talks with Dr Li about television, empathy, digital testimony, and the opportunities and inequalities within Taiwan's #MeToo movement. Themes include:

• Why Taiwan’s #MeToo movement came late - the gap between progressive laws and the cultural conditions that still discourage survivors from speaking.
• The ‘perfect victim’ - how Wave Makers challenges the assumption that only women who conform to conventional ideas of femininity deserve belief and justice.
• The feminist snap - why the line ‘Let’s not just let it go this time’ gave viewers a language for recognising accumulated injustice.
• Empathy and narrative identity - how fictional characters help audiences interpret their own experiences and respond to others.
• Digital testimony and affective publics - how social media weakens traditional gatekeeping while introducing new risks and struggles for attention.
• Women’s solidarity - how the drama examines agency, family relationships and the historical expectation that women define themselves through men.
• The limits of visibility - why migrant domestic workers remain especially vulnerable and often unable to speak without risking their livelihoods or immigration status.

One of the book’s most compelling arguments is that art can give structure to what Raymond Williams called ‘emergent feelings’: experiences without an accepted public language. Through recognisable characters and an accessible story, Wave Makers transformed a familiar instruction to remain silent – ‘just let it go’ – into a shared refusal.

The podcast also considers how the hashtag changes testimony. Survivors can now address audiences directly, rather than relying entirely on journalists and other institutional gatekeepers. Yet visibility remains uneven. Stories involving celebrities and senior politicians attract attention more readily than those of migrant domestic workers, who may face dismissal, loss of visa status or deportation if they speak publicly.

Li is cautious about treating Wave Makers as a formula for political change. No television programme can produce a movement on demand. Popular culture can nevertheless offer language and recognition when audiences are ready to respond.

The story of Wave Makers is ultimately about the unpredictable movement between fiction and public life: a drama helped people recognise experiences they had been encouraged to dismiss, while digital platforms allowed the words ‘me too’ to become testimony, solidarity and action.

Dr Ming-yeh T. Rawnsley is a Research Associate at the Centre of Taiwan Studies, SOAS University of London, and a host for the New Books Network. She is also a co-editor (with Professor Gary Rawnsley) of the short-book series, ‘Anthem Impact in Asian Media, Cinema and Communications’.

Dr Xinling Li is an independent scholar based in New York. He studied at Cambridge University.

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Taiwanese cinema is internationally celebrated for the auteurs of the Taiwan New Cinema. Yet over the past fifteen years, ghosts, demons, curses and haunted screens have become increasingly prominent, turning horror from a marginal genre into an important strand of Taiwan’s popular cinema.

Professor Corrado Neri’s new book, Taiwanese Horror Cinema in the 21st Century: Spectral Narratives and Screen Culture (Anthem Press, 2026), explores this transformation. Neri argues that Taiwanese horror has reached a new stage of maturity: it is now an established industrial category, has diversified across genres and media, and has developed a sophisticated capacity to address Taiwan’s social, historical and technological anxieties.

The book also launches the new short book series, ‘Anthem Impact in Asian Media, Cinema and Communications’.

In this podcast conversation, Dr Ming-yeh Rawnsley talks with Professor Neri about what Taiwanese horror can tell us about Taiwan itself. Their discussion moves from ghosts and folklore to democracy, historical memory, digital culture and changing understandings of identity. Themes include:

1. Why horror? – how a once-marginal genre became an important part of Taiwanese cinema.

2. Taiwan as a ‘Ghost Nation’ – why ghosts offer powerful ways of thinking about Taiwan’s contested history and identity.

3. Horror, democracy and historical memory – how liberalisation opened new possibilities for confronting difficult histories, notably the White Terror in Detention.

4. Religion, folklore and the supernatural – how beliefs, rituals and local legends provide filmmakers with distinctive cultural resources.

5. Digital ghosts – how smartphones, social media, gaming and screen culture have transformed haunting.

6. Gender, sexuality and queer horror – how films such as Marry My Dead Body use supernatural conventions to explore changing social identities.

7. Taiwan within Asian horror cinema – how Taiwanese filmmakers engage with regional traditions while developing recognisably local forms.

One of the book’s most compelling arguments is that the supernatural provides a productive language for exploring Taiwan’s relationship with its past and present. Detention transforms the political violence of the White Terror into a spectral landscape of memory, guilt and historical reckoning. The Tag-Along, The Rope Curse and Incantation bring folklore and ritual into contact with cameras, smartphones and social media.

Taiwanese horror is also transmedial. Detention moved from video game to feature film, television series and novel; The Bridge Curse and Incantation have extended into gaming, while The Tag-Along has expanded into webtoon and virtual reality. Horror thus forms part of a wider creative ecosystem in which cinema intersects with digital media, popular culture and Taiwan’s cultural-content industries.

Taiwanese horror therefore deserves attention beyond horror enthusiasts or film specialists. These films frighten, surprise and sometimes make audiences laugh, but their ghosts also carry history. They negotiate memories of authoritarianism and democratisation, questions of gender and sexuality, and move between temples, cinemas, video games and smartphone screens.

The ghosts haunting contemporary Taiwanese cinema are rarely just ghosts. They offer another way of asking questions about Taiwan: how the past survives in the present, how identities are continually remade, and how a rapidly changing society chooses to remember—and imagine—itself.

Dr Ming-yeh T. Rawnsley is a Research Associate at the Centre of Taiwan Studies, SOAS University of London, and a host for the New Books Network. She is also a co-editor (with Professor Gary Rawnsley) of the short book series, ‘Anthem Impact in Asian Media, Cinema and Communications’.

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From misty mountain oolongs to the global boba boom, Taiwan’s teas carry far more than flavor. They embody contested borders, evolving identities, and the complexities of nationhood. Routes of Taiwan Tea: Mobility, Borders, and Territoriality (U Washington Press, 2026) by Dr. Po-Yi Hung traces tea varieties, processing expertise, and merchants across Taiwan and Southeast Asia to reveal how a simple leaf has become a force in global politics.
Drawing on decades of fieldwork and extensive archival research, Dr. Hung delves deep into the history of Taiwan’s tea industry, from its roots in the Qing empire to its role in modern food nationalism. Hung shows how advocacy for Taiwanization—the movement to recover and celebrate the island’s unique history and culture—occurs not only within Taiwan’s food scenes but also through cross-border exchanges. Oolong cultivation in Thailand’s highlands and bubble tea’s rise in Vietnam demonstrate how tea acts as a nonhuman agent, fostering connections and unsettling conventional notions of sovereignty. Through these routes, tea becomes more than agriculture; it becomes an instrument of diplomacy, a marker of authenticity, and a symbol of cultural pride.
Offering a fresh perspective on Taiwan’s geopolitical positioning, Routes of Taiwan Tea redefines how borders are imagined and lived. It is an essential contribution to food studies, political geography, and East and Southeast Asian studies, illuminating how everyday practices like drinking tea shape global relations.

This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda’s interviews on New Books with Miranda Melcher, wherever you get your podcasts.

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