Crazy Rich Asians Series Heading to Max With Jon M. Chu and Adele Lim, Filming in New York and Singapore

One of the most beloved romantic comedies of the past decade is making its way to television, and the scope of what is being assembled makes this one of the most exciting productions to track for 2027. Warner Bros. Television is developing a series continuation of Crazy Rich Asians for Max, with principal photography scheduled to begin January 11, 2027, across two of the world's most production-rich locations: New York City and Singapore. With a creative team that reunites key figures from the original film and a platform with the resources to do the story justice, this is the kind of prestige project that top-tier crew will want on their radar well in advance.

Jon M. Chu, who directed the original 2018 feature film that grossed over $238 million worldwide and became a genuine cultural landmark, returns as a producer on the series. Chu has since cemented his status as one of Hollywood's most sought-after directors with the massive success of Wicked, the two-part adaptation of the beloved Broadway musical that became a box office phenomenon in 2024. His involvement here as a producer signals strong creative stewardship and a commitment to maintaining the cinematic ambition and visual warmth that made the film so distinctive. Equally significant is the attachment of Adele Lim as screenwriter. Lim co-wrote the original Crazy Rich Asians screenplay alongside Peter Chiarelli and went on to co-write Raya and the Last Dragon for Disney, as well as direct the acclaimed Joy Ride. Her voice is deeply embedded in this world, and her return to the franchise should give the series real authorial continuity and cultural specificity.

The producing team is equally formidable. Nina Jacobson and Brad Simpson of Color Force bring serious franchise experience, having produced The Hunger Games series across multiple studios and formats. John Penotti, whose company SK Global co-produced the original film and has strong ties to Asian cinema markets, returns alongside Kevin Kwan, the author of the original novel trilogy upon which the entire franchise is built. Kwan's hands-on producing role suggests the series will have genuine fidelity to the source material. Collectively, this is a producing team that knows how to manage large-scale, globally-minded productions with both commercial and creative ambitions.

On the studio and platform side, the combination of Warner Bros. Television and Max is a strong signal of serious investment. Max has consistently ordered prestige drama and comedy at a scale that rivals legacy cable, and a franchise with the name recognition and demonstrated audience loyalty of Crazy Rich Asians would almost certainly receive a generous episode order and budget to match. Warner Bros. Television has the infrastructure, the studio relationships, and the global production experience to support a shoot that spans two continents, which this one decidedly will. The involvement of SK Global Entertainment further reinforces the international production architecture that will be required.

The dual-location shoot is one of the most important practical details for crew to understand early. New York City is the confirmed domestic base, which means productions will likely be working within IATSE Local 52 jurisdiction for much of the stateside shoot. New York offers a deep and experienced local crew base, world-class stage facilities including Steiner Studios in Brooklyn and Silvercup Studios in Queens, and a production infrastructure well accustomed to prestige television at this level. The Singapore component is equally significant. Singapore has invested substantially in its screen production capabilities and offers a robust film commission with meaningful incentives for qualifying international productions. Crew with prior international production experience, particularly in Southeast Asia, should pay particular attention to this listing. The interplay between the two locations will likely require experienced production managers and location departments comfortable navigating cross-border logistics.

In terms of genre and format signals, a romantic comedy drama series at this budget tier on Max will almost certainly be a single-camera production with a look closer to a feature film than a traditional sitcom. Expect meaningful investment in production design, costume, and cinematography to capture both the glamour of Singapore's elite social world and the energy of contemporary New York. Period or culturally specific wardrobe, lavish set dressing for the Singapore sequences, and a potentially significant VFX or location unit work for international scenes all point to departments that will be staffed robustly. With a January 2027 cameras-up date, pre-production is likely to begin in earnest in mid-to-late 2026, meaning department heads in art, costume, locations, and camera should begin positioning themselves in the coming year.

For the most current information on crew contacts, production office details, and scheduling updates as this production moves through development and into pre-production, the full listing is available now on ProductionList.com. This is exactly the kind of high-profile, long-lead project where early awareness translates directly into opportunity. Bookmark the listing, check it regularly, and be ready to move when the staffing pipeline opens up.

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