TV push in need of a better script

In a striking plot twist, it was recently revealed that Thai television dramas and series, which the government envisions as a key driver of the country’s “soft power” on the global stage, are struggling to retain an audience at home.
Hopes were high in the industry when Pheu Thai Party made exploiting Thailand’s “soft power” a cornerstone of its policy to break free from the middle-income trap.
It aimed to push the economy beyond the traditional export-led model, steering it towards a more vibrant digital and creative version of itself, bolstered by the nation’s rich cultural heritage and robust tourism industry.
Thailand’s Creative Culture Agency, or THACCA, was set up to serve as a hub to connect artistic communities and stakeholders in driving the “soft power” agenda. The agency set ambitious targets, aiming to generate at least 4 trillion baht, create 20 million jobs over the next four years and raise average household income to at least 200,000 baht a year.
The agency plans to push 11 industries — spanning films, books, design, gaming and sports — on the global stage. Among them, TV dramas and series have been identified as key creative products. To raise their international appeal, a subcommittee was established under the National Soft Power Development Committee in 2023.
The focus is well-founded, as so-called Thai Boys Love, or Y series, have emerged as one of the country’s most promising cultural exports. The market is worth more than 1 billion baht, with major export destinations including China, Japan, Taiwan, the Philippines, Indonesia and Latin America.
The popularity of Y series has also generated downstream benefits, including growth in related industries such as events and tourism.
But the government must realise that Thai soft power in TV dramas cannot be built on one genre of TV series alone.
Moreover, the industry, with its wealth of creative talent and skilled professionals, has the potential to contribute far more to the country’s “soft power” ambitions.
What is essential, however, is that the government and industry stakeholders not lose sight of the effort required to achieve the mission.
It is ironic that as authorities champion Thai drama breaking the international market and driving economic growth toward the upper-income bracket, the genre is struggling domestically.
Viewership has been declining, along with advertising revenues — funds that appear to have been shifted to online channels which have seen year-on-year growth of 8%. TV Channel 3, a household name when it comes to dramas, announced mass layoffs last week following a steady revenue decline.
Under this situation, TV drama production companies are caught in a downward spiral, forced to create higher-quality produce with shrinking budgets and limited resources.
Recent controversies surrounding newly released series, whether due to unrealistic plots, weak scripts or subpar production values, reflect how the local audience has grown increasingly disenchanted with Thai dramas.
While the national soft power development subcommittee for TV and film acknowledges both the potential and challenges facing Thai dramas and series, its rescue plan does not inspire confidence.
To boost international reach, the subcommittee plans to buy content from Thai production companies and air it abroad.
The issue is not only that the plan appears overly simplistic, lacking the strategic depth needed to revive the quality of the content, let alone dress it up for an international audience.
And although the agency admits to considering purchasing content, there is currently no budget for it.
Setting aside the lack of budget, which raises questions about the government’s sincerity in making Thai dramas and series central to its “soft power” initiative, it can be argued the subcommittee should have developed a more comprehensive and strategic plan.
South Korean drama series provide excellent examples for the agency to draw inspiration from, with the rise of K-pop and K-series as textbook cases of strategic cultural promotion beyond borders.
If the subcommittee is truly determined to revitalise the Thai drama industry — which has undeniable potential to captivate international viewers — it should at least lay a strong foundation for its revival.
When the government unveiled its “soft power” policy, it outlined an ambitious, overarching strategy aimed not only at showcasing Thailand’s cultural richness but also at restructuring the economy to create greater opportunities for digital-savvy generations.
Thai drama series may just be one aspect of the broader “soft power” vision, but they deserve more than just a salespitch with little depth.