Southeast Asian Telenovelas, particularly from countries like Thailand and the Philippines, have emerged as a significant cultural export over the past few decades. Did you know that one of the biggest export markets for them is Africa? I did not. Intrigued by this fact, I spoke with Wirat Hengkong, Director of Drama Production at Workpoint Group Thailand, and Ruel Bayani, Head of International Productions at ABS-CBN Studios in the Philippines, to learn more about this genre.
Cultural Export: Southeast Asian Telenovelas on the Global Stage
For decades, telenovelas from Latin America dominated international markets, with countries like Mexico and Brazil leading the charge. However, Southeast Asian nations, especially Thailand and the Philippines, have carved out a unique space in this realm. Known as “Lakorn” in Thailand and “Telebabad” or “Teleserye” in the Philippines, these telenovelas have become cultural exports that embody the distinct traditions, values, and societal issues of their countries.
Once confined to local television networks, these productions are now finding audiences across the globe. ABS-CBN, the Philippines’ biggest media and entertainment company, has been a pioneer in the export business of the Philippines.
For their long-term contributions, they even received the inaugural ‘Asian Academy of Creative Arts Legacy Award’ last year. ABS-CBN’s success story started in 2001 with the ground-breaking drama The Promise which opened a lot of international doors. They have also been the first Philippine company to screen at MIPCOM and the show Cattleya Killer was subsequently picked up by Amazon Prime.
Asking him about exporting to Africa, Ruel Bayani explained to me: “We share similar values and preferences, such as a strong sense of family and a romantic inclination. The viewers connect with our complex characters and feel understood and connected to them. There are multiple fan pages for our actors in Africa.”
What makes these telenovelas stand out is their ability to localise global themes while maintaining their cultural identity. While many Western soap operas may focus on urban lifestyles or glamorous settings, Southeast Asian Telenovelas often incorporate elements of rural life, traditional family dynamics, and local myths and folklore. This connection to their roots makes these shows relatable to domestic audiences while offering foreign viewers an authentic glimpse into Southeast Asian life.
The Impact of Digital Platforms
One of the most significant shifts in the telenovela landscape has been the rise of digital platforms such as Netflix, Amazon Prime, iFlix, WeTV, and YouTube. These platforms have transformed how telenovelas are produced, distributed, and consumed. No longer limited to prime-time TV slots, these shows can now reach audiences anytime, anywhere.
For instance, Netflix has been pivotal in promoting Southeast Asian Telenovelas to global audiences. The platform has not only licensed several telenovelas from the region but also invested in original productions like The Believers, Hunger, Master of the House (Thailand) and Alter Me (Philippines). This accessibility has significantly broadened the global appeal of telenovelas, making it easier for people outside Southeast Asia to engage with this form of entertainment. “The world has become smaller due to these platforms, whose greatest power is the element of discoverability”, explained Ruel Bayani. “They helped broaden the market, strengthened our audience, and made us sustainable. The international competition also drives us to excellence. We constantly challenge ourselves and adapted an innovation mindset. We try new perspectives, new combinations of genres, and experiment with different tones. It’s all about storytelling magic.”
The digital shift has also changed how telenovelas are produced. Producers are now experimenting with shorter episode counts, higher production values, and more complex story arcs to cater to binge-watching audiences. This contrasts with the traditional telenovela format, which often stretched hundreds of episodes over several months. The evolution towards mini-series formats or multi-season storytelling has modernised the genre, making it more compatible with global streaming trends.
Furthermore, social media platforms like YouTube, TikTok and Instagram play a significant role in promoting telenovelas. Hashtags, fan discussions, and memes surrounding popular series create a sense of community and contribute to viral marketing. This is particularly true for younger audiences, who often discover telenovelas through clips on TikTok or YouTube before committing to full episodes.
Themes and Storytelling Evolution
Southeast Asian Telenovelas have seen a notable evolution in themes and storytelling techniques, particularly in Thailand and the Philippines. Traditionally, these shows focused on family dramas, love triangles, and good-versus-evil narratives, with clear distinctions between heroes and villains. While these elements are still prevalent, newer shows are diving into social issues, such as mental health, LGBTQ+ rights, and class struggles.
In Thailand, for instance, Boy Love/Girl Love dramas have exploded in popularity, contributing to a global discussion on gender and sexual identity. Shows like 2gether: The Series, SOTUS, and Only you: The Series have captivated not only Thai audiences but also fans worldwide, including in countries like Japan, China, and even Latin America. And this same-sex love drama genre is gaining popularity, particularly in Japan (TV ASAHI) and Taiwan. “In most Asian countries, they are not allowed to produce this kind of content. That’s why Thailand is the number one exporter of this genre”, Wirat Hengkong explained. However, it’s also expanding globally through OTT platforms like WETV, which broadcasts to 170 countries, and IQIYI, which reaches 150 countries. The openness of Thai telenovelas in exploring LGBTQ+ themes has set them apart in the broader landscape of Southeast Asian entertainment.
According to Wirat Hengkong, the storytelling focus has shifted towards more realistic portrayals, which resonates with the new generation. “These stories are now more relatable and understandable not just in Thailand, but globally as well.” Examples include In Family we Trust, Bad Genius: The series, and Analog Squad. And the actors of these shows are superstars back home and also abroad. They are celebrated at huge fan meetings across Asia.
In the Philippines, a country deeply influenced by Catholicism, telenovelas have traditionally focused on moral dilemmas and redemption arcs. They used to be very plot-oriented, predictable, and slow, using cardboard-characters, according to Ruel Bayani. However, modern telenovelas are pushing boundaries with multi-dimensional, compelling characters in dynamic milieus. Shows such as The Deceit have “grey, passionate characters that are real human-beings.” This show recently won Best Drama Series (National Winner) for the Philippines and will compete with other national winners at the Asian Academy Creative Awards this December.
The shift towards realistic and socially relevant storytelling reflects the changing tastes of audiences, who are increasingly drawn to more nuanced, thought-provoking content. The exploration of these themes also highlights the region’s growing confidence in using telenovelas as a tool for both entertainment and social commentary.
Cross-Cultural Collaborations
Southeast Asian Telenovelas have not only become popular globally but are also fostering cross-cultural collaborations. Co-productions between countries are becoming more common, with Thailand and the Philippines leading the way.
One notable example is the collaboration between Thailand’s GMMTV and South Korea’s CJ ENM, which resulted in the production of the drama F4 Thailand, a localised adaptation of the Japanese manga Hana Yori Dango. This cross-cultural adaptation demonstrates the fluidity of Southeast Asian telenovelas in embracing global storytelling while infusing local elements to make it relatable to their audiences. “For films, a notable example is Pattaya Heat, a collaboration between Thai and Chinese producers. Additionally, Thai company TRUE and Korean company CJ Entertainment have co-invested and formed TRUECJ, which is producing Thai dramas adapted from Korean series.”, said Wirat Hengkong.
ABS-CBN is already operating as a global enterprise, and as Ruel Bayani, Head of International Productions, explained, “unique Filipino stories are emerging from all corners of the world because Filipinos are everywhere — making the push for international distribution much easier.” One of the shows ABS-CBN focused on at MIPCOM was the company’s tentpole international co-production The Bagman (8 x one-hour), a spin-off of the original locally produced digital series Bagman for the Filipino audience. The Bagman stars Arjo Atayde, reprising his character Benjo Malaya from the original Bagman series, a role that won him the 2020 Asian Academy Creative Awards Best Actor.
Philippine networks have also worked with Korean producers to create “Koreanovelas” – Filipino remakes of popular South Korean dramas. Shows like My Love from the Star and Descendants of the Sun have been adapted to fit the Filipino context, merging the storytelling strengths of both nations and introducing viewers to hybrid cultural experiences. Another one to mention here is ABS-CBN’s latest one What’s Wrong with Secretary Kim, which performed well on streaming service VIU.
Future of Southeast Asian Telenovelas: Trends and Predictions
“Trends are fleeting”, stated Ruel Bayani. His goal is to build a sustainable eco-system for everyone and inspire others. “ABS-CBN is a 70-year-old company and it’s more about creating the future of the company and achieving a culture of excellence than chasing trends.”
While this long-term vision is key, it’s also worth noting that one ongoing development is the increasing role of digital platforms in financing and distributing content. With streaming services continuing to invest in original productions, the telenovela format may shift further toward shorter, high-quality series that cater to global tastes.
Another key trend is the growing focus on inclusivity and representation. As seen with the rise of BL/GL dramas in Thailand and more socially aware storytelling in the Philippines, telenovelas are increasingly embracing diverse perspectives. This shift toward inclusive narratives not only reflects societal changes but also makes these shows more appealing to international viewers who seek diverse content.
Plus, the future of telenovelas will likely involve even more cross-border collaborations. As Southeast Asian telenovelas gain popularity, they will continue to attract attention from global media companies, leading to more co-productions and the blending of cultural narratives. This trend could see Thai and Filipino telenovelas reaching new markets and incorporating even more global storytelling techniques.
In addition, Wirat Hengkong, Director of Drama Production at Workpoint Group said: “Thailand has a very high social media use, so I expect less traditional TV and more social media and streaming. Also, less quantity and higher quality shows for niche audiences.”
If you are now intrigued by Southeast Asian Telenovelas, too, please get in touch with Workpoint Group Thailand and ABS-CBN Studios from the Philippines. Because as they continue to evolve, telenovelas from this region will undoubtedly play a pivotal role in shaping the future of global entertainment.
