Turkish TV dramas, now exported to more than 170 countries, continue to expand Türkiye’s cultural influence globally by supporting tourism, increasing international visibility and strengthening cultural diplomacy. However, experts caution that some themes and portrayals in certain productions could also contribute to a misleading perception of Turkish society and cultural values abroad.
Turkish productions, which have gained significant global popularity in recent years, have increased interest in the Turkish language and boosted Türkiye’s tourism appeal. At the same time, themes such as “chaotic relationships” and “violence” frequently featured in storylines have sparked public debate.
Professor Ebulfez Süleymanlı, a faculty member at Üsküdar University's Sociology Department, evaluated the impact of content choices in Türkiye’s TV drama sector, which has become one of the country’s strongest cultural export industries. He said some productions overshadow core Turkish values such as hospitality and tolerance, negatively affecting Türkiye’s image abroad.
Süleymanlı stated that Turkish dramas are now exported to 170 countries and that Türkiye ranks as the world’s third-largest exporter of television productions according to international data. He noted that these productions contribute to the spread of the Turkish language and support tourism, making them an important instrument of “soft power.”
He emphasized that this soft power should reinforce values commonly associated with Turkish society worldwide, including hospitality, tolerance, love and respect. However, he argued that some series and films instead damage these perceptions by portraying a more chaotic image.
Süleymanlı said the promotional influence of television and cinema can be clearly seen in industries such as Hollywood, adding that Türkiye’s own drama and film productions are increasingly being shaped by artificial narratives and agendas that do not accurately reflect Turkish society.
He added that mafia-themed productions, distorted family relationships and chaotic storylines may attract audiences abroad but can also negatively affect perceptions of Türkiye.
“Turkish dramas have become one of Türkiye’s strongest cultural export sectors today. This is no longer just a television success. It is also a major achievement in terms of cultural diplomacy, tourism and national image,” Süleymanlı said.
“Thanks to Turkish dramas, Turkish words are now heard across the world, different Turkish cities attract curiosity, and Türkiye has become visible across a broad geography. In this respect, Turkish dramas are currently positioned as an important soft power instrument,” he said.
He warned, however, that some content choices weaken this positive effect.
“When toxic family relationships, betrayal, intrigue, violence, mafia-style power relations or constant crisis and chaos are highlighted, Türkiye’s warm, sincere and value-oriented cultural identity can remain overshadowed,” he said.
Süleymanlı also said that many Turkish productions watched abroad no longer reflect authentic Turkish imagery, expressing discomfort over narratives that portray realities unrelated to Turkish culture as though they belong to it.
He noted that many productions today are set in luxurious mansions and extravagant environments, while characters often appear detached from Turkish family traditions and customs. According to him, some critics in countries where these series are broadcast argue that exaggerated storylines can negatively influence local family structures.
As an example, he referred to comments made in 2025 by Russian psychologist and sociologist Raushan Birmagambetova, who argued that Turkish dramas negatively affect family structures.
“The stronger the influence of Turkish dramas becomes, the more carefully the images they carry are examined,” Süleymanlı said. “For this reason, the international success of Turkish dramas should not only make us proud but should also push us to think more strategically.”
He added that Türkiye possesses rich historical, cultural, geographical, and sociological material for storytelling, stressing that productions that better represent the country should be prioritized to strengthen this area of soft power.
Süleymanlı said older Turkish dramas focused more on themes such as family, virtue, honesty, compassion and love, while newer productions increasingly center around distorted relationships and conflict.
He warned that the growing visibility of weapons, unrestricted portrayals of violence and chaotic narratives could negatively affect audiences both abroad and within Türkiye.
According to Süleymanlı, changing the narrative approach in Turkish productions would positively contribute to both the domestic and international reputation of the country’s entertainment industry.
“Introducing the world to Türkiye’s cultural memory, roots and history while enriching these elements for global audiences, and rejecting toxic relationship patterns that contradict our essence and imitate Western trends, would greatly improve our TV drama and film industries,” he said. “This would also make a major contribution to building a more fitting and positive image of Türkiye abroad.”
