Thailand’s Rise through New Soft Power: The Global Reach of the BL Industry

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Aadityavikram Rana
Research Intern, Jindal Centre for the Global South,
O.P. Jindal Global University, India

Introduction

The global order has shifted toward soft power as an equally vital complement to hard power in shaping international influence. Coined by Joseph Nye, soft power refers to the ability to co-opt rather than coerce—persuading others through culture, values, and policies rather than military or economic force. Thailand’s entertainment industry, particularly the Boys’ Love (BL) or Y-series genre, has emerged as a notable vehicle of soft power. The growing global popularity of Thai BL dramas has positioned the kingdom as a distinctive cultural exporter, reshaping its international image while advancing national strategies of cultural diplomacy.

From Japan to Thailand

The BL genre originated in Japan in the 1970s, depicting homoerotic relationships between male characters, often created by female authors and consumed largely by women. Over time, the genre spread across Asia, but Thailand adapted and transformed it into a uniquely local phenomenon. While Japanese BL largely remained a niche subculture, Thai creators integrated the genre into mainstream media, combining romantic narratives with elements of Thai social norms, youth culture, and everyday realism (Lyajoon 2024).

Seminal works such as Love Sick: The Series (2014), SOTUS: The Series (2016), TharnType (2019), and 2gether: The Series (2020) captured both domestic and international audiences. Online platforms like YouTube and Netflix further democratized access, allowing global fandoms to form and thrive. As Adair (2023) notes, Thai BL dramas now command millions of viewers across Asia, Europe, and Latin America, creating a distinct “Thai Wave” parallel to South Korea’s Hallyu.

Why Thailand Succeeded Where Japan Did Not

Thailand’s success in adapting BL stems from a blend of industry structure, cultural openness, and strategic policy support. The entertainment sector’s institutional flexibility gives independent producers and online studios far more creative freedom than Japan’s tightly regulated media environment, enabling experimentation with LGBTQ+ themes (Bunyavejchewin et al. 2024). At the same time, shifting social attitudes—especially among urban youth who increasingly embrace gender fluidity and inclusivity—have cultivated a receptive audience, supported by the visibility of LGBTQ+ communities in cities like Bangkok and Chiang Mai (de Guzman 2022). Complementing these social and industrial conditions is the state’s soft power vision, with initiatives such as One Family, One Soft Power (OFOS) positioning creative industries as engines of cultural influence and economic growth (Buamahakul 2024). Collectively, these dynamics explain why Thailand, rather than Japan, transformed BL into a mass-market export and a cornerstone of contemporary Thai soft power.

Economic and Cultural Impacts

The Thai BL industry has evolved into a profitable cultural export. Between 2020 and 2023, foreign investments in the BL sector reportedly surpassed USD 10 million, reflecting rising global demand (Reddy 2023). The genre has also catalysed “BL tourism,” where international fans visit filming locations, cafés, and merchandise stores featured in popular series. For instance, the success of 2gether: The Series boosted visits to Bangkok University and local cafés, illustrating how entertainment-based tourism reinforces national branding.

Culturally, Thai BL dramas have become conduits for promoting local language, food, and aesthetics. Fandom communities online often share Thai phrases, recipes, and travel tips, effectively serving as informal cultural ambassadors. As Hildebrandt (2023) observes, this mirrors how South Korea’s K-dramas propelled global interest in Korean culture, indicating that Thailand’s soft power model is following a similar trajectory but with distinct local characteristics.

The Progressive Image and LGBT Representation

Beyond economics, BL narratives project a progressive and inclusive image of Thailand. These dramas normalize same-sex relationships, presenting them not as taboo but as part of relatable everyday life. This representation enhances Thailand’s reputation as an LGBTQ+-friendly destination and aligns with its diplomatic aspiration to be seen as a tolerant, modern society.

At the same time, this image is not without contradiction. Legal recognition of same-sex marriage remains limited, and conservative groups occasionally resist the perceived normalization of homosexuality on mainstream media (Nguyen 2024). Nonetheless, the visibility of BL culture continues to shape international perceptions of Thailand as one of Southeast Asia’s most socially open nations.

Challenges and Constraints

Despite its success, the BL industry faces structural and ideological challenges. Censorship and conservative backlash remain significant constraints. While the Thai media authority allows considerable creative freedom, explicit sexual themes are often toned down or re-edited for broadcast. Moreover, social conservatives argue that BL content could erode traditional family values. This tension reflects Thailand’s broader societal negotiation between liberal modernity and cultural conservatism.

There are also concerns about sustainability and over-commercialization. Rapid expansion risks creative stagnation and repetitive storytelling. To ensure long-term global appeal, producers must invest in better writing, production quality, and cross-genre experimentation (Lyajoon 2024). Addressing these issues is crucial if Thailand is to sustain its soft power trajectory through entertainment.

Future Prospects

Recognising BL’s potential, the Thai government now integrates media production into its broader soft power strategy. Campaigns linking tourism to popular series encourage international visitors to experience Thailand through cultural immersion. The OFOS program aims to create jobs, enhance global cultural competitiveness, and position Thailand as a regional creative hub (Buamahakul 2024).

However, scholars argue that soft power cannot rely on a single genre. For Thailand to strengthen its international cultural footprint, it must diversify creative exports—film, animation, music, fashion, and culinary arts—so that the BL wave becomes a foundation for wider cultural engagement rather than an isolated phenomenon.

Conclusion

The rise of Thailand’s BL industry exemplifies how entertainment can serve as a potent tool of cultural diplomacy and economic growth. By blending social inclusivity, creative innovation, and strategic policy, Thailand has successfully carved a niche distinct from dominant Asian media powers like Japan and South Korea.

Yet, the BL phenomenon’s true contribution lies beyond profit or fandom: it redefines how Southeast Asian nations can project identity, inclusivity, and creativity on a global scale. For Thailand, sustaining this momentum requires balancing freedom and regulation, embracing diversity beyond BL, and embedding cultural exports within a holistic vision of national soft power. In doing so, the kingdom may well consolidate its status as a global leader in cultural diplomacy.

References

The opinions expressed in this article are those of the author (s). They do not purport to reflect the opinions or views of the Jindal Centre for the Global South or its members.

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