The T-Wind is blowing: Will Thailand be Asia's next soft power giant?
Above Lalisa Manobal and Tayme Thapthimthong play Mook and Gaitok in the third season of The White Lotus (Image: Max)
Soft power, a term conceptualised by the recently deceased American political scientist Joseph Nye, refers to a nation's ability to influence others without the use of force, often by earning influence through positive appeal, and is a critical aspect of diplomacy and international relations. In the 2025 edition of the Global Soft Power Index, Thailand placed 39, recognised for its cultural influence, media appeal and international perceptions of friendliness, hospitality and creativity. Thai cinema's global moment
Above The official trailer for 'How to Make Millions Before Grandma Dies', which was released locally under the title 'Lahn Mah'
The success of A Useful Ghost at Cannes exemplifies Thailand's sophisticated approach to cultural diplomacy through cinema. The film tells the story of a woman who has recently died of a respiratory illness and returns as a useful ghost, possessing a vacuum cleaner to protect her husband not only from dust, which he is allergic to, but from various vengeful ghosts. Described by the jury as a "bold, free and unclassifiable work" that plays with genres whilst offering a vision that's "both intimate and universal," the film demonstrates Thailand's capacity to produce content that resonates across cultural boundaries whilst maintaining its distinct identity.
This win added to the success of last year's Thai comedy drama How to Make Millions Before Grandma Dies , known in Thai as Lahn Mah and directed by Pat Boonnitipat, which shattered commercial expectations by grossing US$73.8 million worldwide—making it the highest-grossing Thai film globally. The film also progressed to the Academy Awards shortlist, the first submission from Thailand to do so, signalling that Thai storytelling, when authentically exploring universal themes through a distinctly local lens, possesses remarkable global appeal.
See also: Lessons from the makers of hit Thai film 'How to Make Millions Before Grandma Dies'
Above Aoy (Chutimon Chuengcharoensukying) and chef Paul (Nopachai Chaiyanam) in Netflix's 'Hunger' (Photo: Courtesy of Netflix)
This dual success—one critically acclaimed, the other commercially triumphant—reveals Thailand's strategic diversification within cinema. Rather than pursuing a single path, Thai filmmakers are simultaneously cultivating both art house credibility and mainstream accessibility, ensuring their cultural exports can reach both discerning film festival circuits and mass global audiences.
The accessibility of Thai content through streaming platforms has further amplified this reach. For example, Netflix's Hunger (2023), which introduced international audiences to Thai culinary traditions and cultural nuances, creating what cultural analysts describe as "active soft power"—content that encourages deeper engagement with Thai language, cuisine and customs, is one of the most internationally streamed Thai films. The T-Wind and musical diplomacy
Above Jeff Satur (Image: courtesy of Warner Music Asia)
While Korean pop music dominates global conversations about Asian music exports, Thailand's T-Pop scene is carving its own distinctive niche. The emergence of what has been termed the 'T-Wind"—Thailand's answer to the Korean Wave—has generated impressive momentum, with the Thai music industry experiencing 20 per cent revenue growth in 2022, surpassing $100 million in wholesale market revenue for the first time.
Artists like Jeff Satur, 4Eve, Billkin and Tilly Birds aren't simply emulating established Asian pop formulas. Instead, they're creating a uniquely Thai musical identity that blends traditional Thai elements with contemporary pop, hip-hop and rock. This genre versatility represents a competitive advantage in an increasingly saturated global music market, offering international audiences something genuinely distinctive rather than derivative. Celebrity culture as cultural currency
Perhaps nowhere is Thailand's soft power more visibly demonstrated than in the luxury fashion world's enthusiastic embrace of Thai celebrities. Seismic shifts in global brand strategy took place when Bright Vachirawit became Burberry's first global ambassador from the South Asia-Pacific region, and Win Metawin was appointed Prada's first Thai global ambassador.
There is now an extensive roster of Thai celebrities representing prestigious luxury houses, including Gulf Kanawut for Gucci, BamBam for Louis Vuitton, Jeff Satur for Valentino and Cartier, Nattawin Wattanagitiphat for Piaget, Blackpink's Lisa for Celine, and Sarocha 'Freen' Chankimha for Valentino. These appointments mark historical firsts for Thai representation within these brands, signifying luxury fashion's recognition of Southeast Asian markets' growing influence and purchasing power.
What makes this phenomenon particularly significant is how these celebrities function as complete lifestyle ambassadors rather than simple endorsers. Win Metawin, for instance, operates his own fashion label (streetwear brand Velence) alongside his entertainment career, embodying the entrepreneurial sophistication that luxury brands seek to associate with. This positions Thai celebrities as cultural trendsetters capable of influencing global consumer behaviour and lifestyle aspirations.
The impact extends beyond fashion shows and red carpets. These ambassadorships actively promote Thai aesthetics and contemporary style on international stages, serving as potent forms of cultural diplomacy that enhance Thailand's image as a modern, sophisticated cultural force. The Boys' Love (BL) phenomenon
Above Suppasit 'Mew' Jongcheveevat and Kanawut 'Gulf' Traipipattanapong in TharnType: The Series (Photo: Instagram / @tharntypeofficial)
One of Thailand's most unexpected cultural exports has been the Boys' Love (BL) fictional media genre, which has garnered massive international followings and created entirely new categories of cultural consumption. Manifested in literature, television dramas and films, the genre, which depicts homoerotic relationships between men and is typically created by women for a female audience, has demonstrated Thailand's willingness to explore diverse narratives and represent different communities, contributing to global conversations about representation whilst generating significant economic returns through merchandise, fan events and tourism. BL productions contributed approximately 2 billion baht (USD61 million) in export revenue in 2024, double the previous year.
See also: Is the BL genre the next step toward global recognition for Thai literature? Thailand's strategic 5Fs framework
Thailand's cultural ascendancy isn't purely organic—it is supported by a comprehensive government strategy centred on the "5Fs" policy: Food, Film, Festivals, Fighting (Muay Thai) and Fashion, demonstrating an understanding that effective soft power requires diverse cultural portfolios rather than reliance on single exports.
The establishment of the National Soft Power Strategy Committee, headed by Thailand's Prime Minister, signals the highest level of political commitment to cultural diplomacy. The committee's ambitious goal of generating 4 trillion baht in revenue through creative industries underscores soft power's recognition as a crucial economic driver rather than merely cultural window dressing.
Perhaps most significant is the forthcoming Thailand Creative Content Agency (THACCA), operational from 2026, which aims to transform 20 million Thai citizens into skilled creative workers by 2027. This human capital investment represents recognition that sustainable soft power requires continuous development. Learning from Asian soft power success stories
Thailand's strategy clearly takes inspiration from established regional models. South Korea's Hallyu Wave demonstrates how deliberate government investment, coordinated agency support and sustained commitment can transform cultural potential into significant economic and diplomatic influence. South Korea's ranked in 12th position in the Global Soft Power Index for 2025 reflecting decades of strategic cultural investment.
Similarly, Japan's "Cool Japan" strategy illustrates how cultural exports can be strategically adapted for global consumption through "glocalisation"—maintaining distinct cultural identity whilst ensuring universal accessibility. Japan's animation industry generated record overseas profits of 1.72 trillion yen in 2023, demonstrating the economic potential of well-executed cultural diplomacy. Japan ranked 4th in this year's Global Soft Power Index, behind the US, China and the UK.
Thailand's approach appears to take lessons from both models: maintaining authentic Thai identity whilst ensuring content resonates globally, and combining government support with market-driven innovation. Persistent challenges
Despite impressive progress, Thailand faces challenges in sustaining its cultural momentum. Intense competition from established players like South Korea and Japan requires continuous innovation and strategic differentiation, and political stability remains crucial for maintaining investor confidence and regulatory predictability—factors essential for long-term creative industry growth.
Additionally, Thailand's global image is still heavily shaped by a narrow bandwidth of representation. Male stars dominate luxury ambassadorships, and much of the international fandom around Thai content centres on curated ideals of male beauty and queer-coded narratives. Meanwhile, female artists and creators often struggle for equivalent global visibility—a dynamic that suggests the next phase of Thailand's soft power evolution must grapple more directly with gender equity in its cultural exports. A cultural powerhouse in the making
Thailand's transformation from tourism-dependent nation to multifaceted cultural exporter represents one of Asia's most compelling soft power success stories. And the evidence suggests that this is just the beginning.
Thailand is no longer simply inviting the world to visit—it's inviting the world to feel, watch, wear and hear it.
Yet, the true test will be sustainability. Can Thailand nurture its creative sector beyond current trends? Will it make room for stories from all corners of its society—not just the ones easiest to export? The answers will determine whether this moment becomes a movement, and whether Thailand's cultural ascent reshapes not just perception, but power.
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As much as the themes resonate with him personally, Waksberg hesitates to label 'Long Story Short' as autobiographical. 'I would say it feels more personal than autobiographical, because you don't know my biography. But I wanted it to feel real and lived in. It's not really about my family, but it is about family, and it's about my thoughts on family, the rhythms of family and the way family interacts. I'd say all my work is personal in that way. I'm of the belief that on some level, all art is autobiographical, sometimes in ways you don't even realize.' Authentically depicting family made Waksberg write in a different register than what 'BoJack' offered audiences. 'We definitely do more dual dialogue than we ever did on 'BoJack.' That was very intentional. I wanted to have multiple conversations happening at the same time, and an awareness that the audience is not going to hear everything, and that's okay, that's a little leap of faith that people aren't going to feel like, 'Wait, what's going on?' Part of making a show is teaching your audience how to watch it. We want to be intentional in signaling to the audience that, if you missed something, don't worry, you're not supposed to get everything, maybe watch it a second time and pick out what other people are saying. We wrote and edited the dialogue, trying to move the conversations faster.' He added, 'This part is actually very autobiographical. It's based on my family and probably other families as well. You don't wait till the end of the sentence to start talking, especially when you know what the other person is saying, you're gonna start before they're done. 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When he spoke to IndieWire last year, Waksberg discussed how 'BoJack Horseman' had to be tailored around how audiences watch shows on streaming: linearly and often all at once. In the 11 years since, the landscape has changed yet again, which led him to think differently about the structure of 'Long Story Short.' 'I was interested in thinking about how audiences watch shows. One thing I have felt is that 'BoJack' has done very well, even for people who weren't watching when it was on. One of the reasons for that is because it's long-running, there are 77 episodes of it, and when you get to the end, you're ready to start it all over again.' Waksberg said, 'That's harder to do with fewer seasons with shorter episode orders, which you see a lot of in streaming. On a show like this, the goal is to make you fall in love with the characters. Can you shortcut that a little bit by jumping around time and watching these characters grow up? Can you feel, by the end of the first season, that you've watched five seasons of this show? Can you feel that same kind of warmth that you feel with something you've seen 100 episodes of? That's the great experiment. Given the landscape of television right now, I'm probably not going to get 100 episodes. Is there a way to get some of that same effect?' At the end of the credits, 'Long Story Short' makes a point to stress that 'This Programme Was Made By Humans.' 'It's a bit of a toothless guarantee, because there's no standard at this point, there's no Humane Society of Anti-AI to certify this as the correct amount of non-automation,' said Waksberg. 'But as a statement of value, it was worth saying out loud, 'This is important to us,' and what I love about the show is that it is made by humans. Even in the artwork, we were really deliberate in saying, 'Let's color outside the lines a little bit, let's, let's make this feel handmade.' In the writing, too, we want it to feel personal. We want it to feel specific.' He added, 'One of the things I love about getting to do this work is how collaborative it is. I get to work with these other humans who come in with their own stuff. I could see a world in which I had an idea for a show, and I could write up a paragraph about it, and then a machine could kind of spit it out exactly the way I was imagining it should. I don't think we're there yet, but I could see that scenario. But I don't want a show exactly the way I'm imagining it. I get to be surprised by the brilliance and the experience of these other people that have worked on it. And I do feel like we need to draw some lines in the sand. We all do, every single day. I don't know what that line is, but I think it is worth talking about, as audiences [are] saying we don't want AI art.' 'Long Story Short' premieres on Netflix August 22. 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