Chinese Streaming Content in Southeast Asia: Opportunities for Thailand

Chinese drama series, particularly xianxia — a genre that combines Chinese mythology, culture, fantasy, and action — are becoming increasingly popular across Southeast Asia, with Thailand standing out as a key consumer market. This has helped China expand its soft power, as nominal Chinese non-state entities use such series as conduits for cultural exchange.

The trend is largely driven by the global expansion of Chinese video streaming platforms and their collaboration with production teams in Thailand. The rising number of fan meetings featuring popular Chinese stars in Thailand has also fuelled the popularity of these series. These events not only bring Chinese stars closer to their Thai fanbase but, more importantly, open up new opportunities for collaboration between the two countries’ entertainment industries.

Since the mid-2000s, the Chinese entertainment industry has primarily relied on online platforms to engage local audiences. However, faced with the challenge of monetising viewer interest amid rampant piracy in the domestic market, major players like Tencent (owner of streaming platform WeTV) and Baidu (owner of streaming platform iQIYI) took bold steps to expand internationally in 2019. They established subsidiaries in Southeast Asia, a region offering promising markets due to its cultural and geographical proximity to China. Thailand was selected as the launch country for WeTV, while Malaysia was chosen as the initial market for iQIYI.

Currently, Thailand has become a prominent consumer market for Chinese streaming services in Southeast Asia. The Covid-19 pandemic triggered a surge in weekly streaming minutes across various platforms in Thailand, with WeTV seeing the most substantial growth. For WeTV viewers, their time spent watching content on the platform jumped from 60 minutes to 185 minutes per week, reflecting Thailand’s growing appetite for Chinese content. According to Media Partners Asia, China now ranks as the top preferred country for Thai audiences, capturing an impressive 45 per cent market share in 2024. This is particularly evident in genres such as period films and xianxia fantasy series.

Leveraging on the trend, the Chinese government has actively pursued partnerships with Chinese-owned streaming platforms to facilitate the global distribution of Chinese dramas. This initiative forms part of a wider cultural diplomacy strategy, using entertainment as a tool to expand China’s soft power. By promoting Chinese content on platforms like iQIYI and WeTV — which are nominally non-state actors — China aims to attract global audiences while shaping a more favourable international image. These partnerships allow China to leverage its growing digital entertainment industry, while maintaining regulatory oversight over both content and distribution.

The Chinese Communist Party (CCP) has a complex relationship with content considered inappropriate or unsuitable, such as BL (Boys’ Love). Although the CCP does not officially support BL content due to strict censorship policies, it recognises the potential benefits of exporting such narratives. A successful example is The Untamed, a WeTV xianxia series adapted from a BL novel, starring Wang Yibo and Xiao Zhan. Despite China’s strict censorship, which toned down the novel’s homoerotic themes, the series has become a global sensation. Its success was particularly evident in Thailand, a hub for BL content, where The Untamed was received with great enthusiasm. Capitalising on the show’s popularity, in-person fan meetings were held in Thailand. In September 2019, the country hosted a fan event featuring the series’ lead actors, followed by another in January 2020. Both gatherings drew large international crowds, indicating strong potential for fan-driven tourism opportunities in Thailand.

There are, however, limits to such China exports. They operate within a dual-track approach under the Chinese Communist Party (CCP), which promotes cultural exports to enhance its soft power while imposing strict controls on content deemed undesirable, such as BL narratives.

These events, however, offer more than just tourism benefits — they also serve as platforms for cultural exchange. Through the display of Chinese costumes, music, and traditions, fans are introduced to various aspects of Chinese culture during the fan gatherings. The charisma and talent of Chinese actors further influence fans’ perceptions of China, as these qualities are often associated with positive attributes of Chinese culture. Xiao Zhan, for instance, embodies a balance of confidence and humility — traits that contribute to a favourable image of China among international audiences.

Today, Chinese streaming platforms are increasingly collaborating with local production teams in Southeast Asia to create original content tailored to regional preferences. This is particularly strategic, given that genres such as BL face domestic restrictions in China. By producing such content overseas, these platforms have been able to circumvent censorship, enjoying greater creative freedom. An example is KinnPorsche, iQIYI’s first-ever Thai original production, created by Thailand’s Be On Cloud. The series centres on Porsche who becomes entangled in the mafia underworld through his connection with Kinn. The BL series went on to achieve global success, together with conventional (non-BL) content produced in Thailand, such as Ghoul to School and Game of Love.

Chinese streaming platforms have also been instrumental in the global dissemination of Thai content, creating business opportunities for the Thai entertainment industry. Thai series across various genres are showcased on platforms like WeTV and iQIYI. Notably, popular BL series like Love in Translation and Laws of Attraction, and non-BL series like Meo Me and You and Intern In My Heart have gained widespread popularity among Chinese audiences, prompting the Thai government to leverage these series to expand Thailand’s soft power. For instance, the Tourism Authority of Thailand launched the “Star For You Tour” campaign, organising fan meetings with artists from Thai BL series to attract Chinese tourists. This reciprocal strategy highlights the mutual benefits for both the Chinese and Thai entertainment industries.

The growing popularity of Chinese series and streaming services in Southeast Asia reflects a broader shift in viewing habits and underscores the potential for greater cultural exchanges between China and its regional partners. This trend is particularly evident in Thailand, where the expansion of Chinese video streaming platforms, coupled with collaborations with local production teams, has transformed the entertainment landscape.

There are, however, limits to such China exports. They operate within a dual-track approach under the Chinese Communist Party (CCP), which promotes cultural exports to enhance its soft power while imposing strict controls on content deemed undesirable, such as BL narratives. While the rise of Chinese series presents exciting opportunities as a nuanced tool of soft power, it is essential to remain vigilant about potential downsides, including censorship, cultural misrepresentation, and overreliance on Chinese platforms. Therefore, Thailand should carefully explore the benefits and challenges of its evolving entertainment relationship with China. 

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