I. INTRODUCTION The Programme Advisory Committees and their work The Programme Advisory Committees (PACs) are advisory committees which give the Media Development Authority (MDA) feedback on content standards and the quality of broadcast content, particularly locally-produced Public Service Broadcast (PSB) programmes. Their views are guided by prevailing broadcast programme codes and quality indicators for PSB programmes in terms of production standards, information value and overall engagement. 2 There are currently four PACs, namely the Programme Advisory Committee for English Programmes (PACE), Advisory Committee for Chinese Programmes (ACCESS), Malay Programmes Advisory Committee (MPAC) and Indian Programmes Advisory Committee (IPAC). Members come from different walks of life and contribute through various fields of interest and expertise including academia, media, non-governmental organisations and the private sector. The PACs’ terms of reference and membership can be found at Annex A. 3 Since 2014, the PACs have issued an annual report consolidating observations and recommendations from the four committees for the industry and MDA. This report covers the period between August 2014 and March 2016, and is the outcome of twenty committee meetings, as well as consultations over email. It includes a special mention given to well-executed PSB programmes in the segment, “PAC Choice”, which can be found at Annex B. 4 The report serves to share feedback on broadcast content from a community perspective. It will be taken into consideration by the MDA, together with other sources of feedback and against broader content guidelines, industry strategies and developments. Shaping the future of Public Service Broadcast 5 Like other countries, Singapore has its brand of PSB content which aims to celebrate our culture and heritage, promote a shared identity and foster a cohesive and connected society. To meet the demands of a more competitive media landscape and amidst changing viewing preferences, the MDA partners with broadcasters on two fronts – improving the quality and extending the reach of local content. 6 The MDA will continue to support compelling local content, with a focus on raising the quality of drama and information programmes. In the period under review, Mediacorp has revamped Channels 5 and 8 to cater to the preferences of its target audience – the family. Suria, Vasantham and Channel NewsAsia have respectively produced dramas and documentaries that discussed issues which resonate with the community. 7 The MDA has embarked on key initiatives to grow the reach of PSB content beyond free-to- air (FTA) platforms, to allow more viewers to enjoy PSB programmes. Launched in July 2012, the PSB Contestable Funds Scheme (PCFS) – which supports the creation of fresh PSB through competition – saw pay TV operator, StarHub, come on board for the first time1. As viewers move online to consume content, the MDA and broadcasters are also cultivating new media platforms in support of different viewing preferences. 1Under the PCFS in FY2014, StarHub commissioned more than 70 hours of PSB content for its two pay TV channels, E-City and SuperSports Arena, with genres spanning entertainment, infotainment, kids and variety programmes. The PSB programmes were broadcast on those channels from February 2015. 1 II. KEY REFLECTIONS (A) Range and quality of PSB programmes – better storytelling; wider range of subject matter explored; high production values overall Dramas Harder-hitting with impactful stories 8 The PACs generally enjoyed the dramas shown in the period under review. Members observed better storytelling standards and higher technical production values compared to the previous report. Dramas were found to be well-scripted, with an attempt to explore a wider range of themes and genres such as active aging, courtroom drama, psycho-thriller and suspense. Specifically, several dramas reflected themes of cross-cultural understanding and social integration, issues which members had recommended in the previous report. Better cinematography and editing techniques further boosted the programmes’ engagement value. [Fig. 8.1: Members cited family dramas such as LION MUMS (Ch 5) and THREE WISHES《三个愿望 》 (Ch 8) as examples of well-scripted programmes which engaged viewers with realistic dialogue.] [Fig 8.2: Dramas which dealt with inter-racial relationships, such as MENANTU INTERNATIONAL (INTERNATIONAL SON-IN-LAW, Suria) and TANGLIN (Ch 5), were appreciated for their honest and sensitive take on the interactions within a multi-cultural society.] [Fig 8.3: Members lauded the high technical production values in dramas such as thrillers KSHATRIYAN (THE WARRIOR, Vasantham) and P.I.Z (Suria), which employed drone cameras and creative editing techniques.] 2 New formats generally worked to anchor viewership and develop industry talent 9 A notable addition to the programming on both Channels 5 and 8 was long-form dramas2. 118, and TANGLIN were singled out by ACCESS and PACE for their realistic sets and depiction of issues close to the hearts of Singaporeans. Given the span of such dramas, members thought that they served as a good platform to discuss current issues in a light-hearted way and had potential to retain viewers. 10 Members were further encouraged by the exposure and training offered to local talent through longer-term projects, in terms of writing and producing on a sustained basis. Recognising those challenges, ACCESS felt social issues and themes could be more subtly woven into the plot of Channel 8 drama, LIFE FEAR NOT 《人生无所畏》, to make it more appealing. Recommendations for balanced treatment and cross-platform engagement of important issues 11 While the PACs felt that dramas were generally well-produced, members saw room for greater depth and balance in the stories. MPAC proposed that MENANTU INTERNATIONAL leverage its theme to discuss the weightier aspects of mixed marriages beyond the more apparent cultural differences, which would make for an even more meaningful series. As with previous years, IPAC remained concerned about the reliance on dark themes like vengeance and violence in a number of dramas, which, at times, distracted from the main plot and messages. Members cited VETRI SR 2 (VICTORY, Vasantham), a school drama which featured a prominent sub-plot involving adultery, as an example. 12 MPAC thought that the dramatisation of important issues such as cross-cultural relationships was a good start, and that the conversation could be picked up across other platforms like forum programmes such as Suria’s REFLEKSI (REFLECTION). This would create a sustained discussion, leveraging the strengths of different programmes to engage viewers more holistically. Information programmes SG50 documentaries, current affairs and other programmes commended for high research values 13 Members enjoyed the SG50 documentaries3 and most current affairs (CA) programmes. They commended the programmes’ high production value, noting the quality of research committed and important messages conveyed about our society. Members also thought that CA programmes managed to present information and concepts in clear and easily understood terms. [Fig 13.1: Members enjoyed SG50 programmes such as WILD CITY SR 1 and 2, which showcased our flora and fauna; and COMMANDOS, which traced the gruelling journey of army recruits.] 2 Long-form dramas were those which ran for an extended number of episodes. In the period under review, they were screened on weekday evenings. 3 The period under review saw the release of SG50 programmes on Channel NewsAsia in commemoration of the nation’s Golden Jubilee. The programmes typically featured local history, culture and heritage. 3 [Fig 13.2: TUESDAY REPORT 《星期二特写》 (Ch 8), DIGIT 2015 (Suria), KANNOTTAM 360 SR 3 (Vasantham) and DON’T CALL US POOR (CNA) were CA programmes which kept pace with key issues and human interest stories.] 14 Similar to the observation for dramas, info-ed and infotainment programmes were found to carry a wider range of topics, moving beyond the popular subject matter of food as noted in the previous report. Members welcomed this diversity. IF MY BLOCK COULD TALK (Ch 5), THEY ARE MY PARENTS 《我的父亲母亲》 (Ch 8), KARANGAL (OUR PIONEERS, Vasantham) and CANTIK DETEKTIF (BEAUTY DETECTIVE, Suria) were highlighted for covering different subject matter ranging from local history to health. New formats attempted to strike a balance between information and entertainment 15 New and hybrid information formats generally managed to discuss issues in a more relatable way. Integrating news with current affairs, fresh concepts presented information through different perspectives, enlisting the use of case studies and discussions to bring issues to life. HELLO SINGAPORE《狮城有约》’s (Ch 8) casual yet discursive take on issues was well-received by ACCESS. MPAC praised Suria for successfully broadcasting BERITA from popular neighbourhood spaces and including new interview segments that were both helpful and educational. 16 PACE had mixed views over Channel 5’s talk show offerings, THE 5 SHOW and its successor, NOT THE 5 SHOW. Members flagged issues with consistency in treatment and branding even as they saw potential in NOT THE 5 SHOW’s attempt to cater to younger viewers (e.g. features on social media trending topics and social experiments). Recommendations to boost quality of CA and cater for more special interest programmes 17 As in the previous report, members held CA programmes to higher standards and opined that such programmes should