Turkish TV Dramas Captivate the World, Boosting Tourism Worldwide

Under the sweltering Turkish sun, tourists eagerly explore film sets that recreate Ottoman and Byzantine-era castles. They snap selfies with actors dressed in traditional Ottoman costumes and watch thrilling horseback stunt performances. Among these enthusiastic visitors is Riia Toivanen, a 22-year-old fan of Turkish television drama, who traveled from Finland to Istanbul with her mother to immerse herself in the world of her beloved shows.

Some 8,000 miles (12,800 kilometers) away in Villa Carlos Paz, Argentina, 66-year-old retired teacher Raquel Greco watches an episode of a Turkish romantic comedy surrounded by memorabilia from her unforgettable trip to Istanbul. Recalling her visit in April, she says, “It seemed to me that I was dreaming; I couldn’t believe I was living what I saw every day in the series.”

The global craze for Turkish TV dramas, known as dizi, has turned Turkey into a leading exporter of television content. This not only boosts the nation’s international image but also draws millions of viewers and tourists to its historical and cultural landmarks, featured prominently in many of these shows.

Experts note that the success of Turkish TV dramas has spurred a billion-dollar industry, rapidly expanding into new markets. The shows have also significantly increased Turkey’s soft power on a global scale.

According to Parrot Analytics, the global demand for Turkish series soared by 184% between 2020 and 2023, positioning Turkey as one of the world’s largest exporters of TV shows.

“We reach over 400 million viewers every night around the world,” says Izzet Pinto, CEO of Global Agency, which exports Turkish dramas globally. “The soft power we create with Turkish dramas cannot even be compared to what could be achieved through politics.”

The first Turkish series to be exported was “Deli Yurek” in 2001, but it was the 2005 romantic series “Gumus” that catapulted Turkish dizis to international fame. The series, centered on a woman from a traditional background adapting to urban life, became hugely popular in the Middle East.

Subsequent successes include “A Thousand and One Nights,” a 2006 romantic drama set in modern-day Istanbul that captivated audiences in the Balkans, and “Magnificent Century,” based on the life of 16th-century Ottoman Sultan Suleyman the Magnificent, leading the charge for historical fiction.

Turkey, once an importer of Latin American telenovelas, now exports its dramas to that region. Highlighting the global appeal, Venezuelan President Nicolás Maduro visited the set of the historical drama series “Resurrection: Ertugrul” in 2018.

Haley Uganadi, founder of the Turkish TV series fan platform “Dizilah,” credits the shows’ popularity to their focus on universal themes like family, friendship, and love, often set against luxurious lifestyles or rich historical backgrounds. “They offer something for everyone, regardless of where you are from,” she says.

Her platform draws about 1.5 million viewers each month, attracting fans from the United States, Canada, Greece, India, and Pakistan.

Pinto notes the family-friendly nature of Turkish dramas. “There’s no nudity, no cursing or bad words, not much hate. So, this becomes watchable by the family,” he explains.

As the industry grows, it is diversifying the themes of its series. For instance, “Red Roses” explores the dynamics between a secular family and a fictional Islamic brotherhood.

During a break from filming, actor Ozcan Deniz, known from popular series like “The Mansion with Vines” and “Bride of Istanbul,” emphasized the need for diversification. “Countries that failed to transform into different genres are now lagging behind in the export of series,” he said. “Turkey has caught this momentum, but if it cannot diversify, it will eventually falter.”

Riia Toivanen and her mother toured Bozdag Film Studios, a vast complex in northern Istanbul where historical blockbusters like “Resurrection: Ertugrul” and “Foundation: Osman” were shot. Toivanen’s love for romantic dramas like “Black Money Love” and “Endless Love” brought her to Istanbul. “I like Turkish culture very much,” she noted. ”The series are very friendly and warm, with plenty of drama.”

The first episode of “Resurrection: Ertugrul” garnered over 157 million views on the Urdu-language YouTube channel of Turkish state broadcaster TRT, said producer and screenwriter Mehmet Bozdag. “Foundation: Osman” has been broadcast in over 110 countries.

During its peak in May 2020, “Resurrection: Ertugrul” was the fourth most in-demand show worldwide, with demand more than 68 times that of an average show, according to Parrot Analytics.

Dr. Deniz Gurgen Atalay, assistant professor of film and TV at Bahcesehir University in Istanbul, says the industry generated $1 billion in 2023 from overseas exports. He highlights its significant impact on tourism, especially in Istanbul.

“The TV series sector has a huge share in this. The portrayal of Istanbul, the food, the music, and the culture within these series present a very appealing image,” Atalay said.

Mert Yazicioglu, star of “Red Roses,” whose second season premieres in late September, took a break from filming to reflect on the industry’s impact. “We have introduced Turkish culture abroad. That makes us very happy,” he said, dressed in his character’s traditional attire.

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Associated Press journalists Hernan Munoz in Barcelona, Spain, Mario Tizon in Los Cocos, Argentina, Suzan Fraser in Ankara, Turkey, and Khalil Hamra and Mehmet Guzel in Istanbul, Turkey, contributed to this report.