A rom-com about a lesbian flight attendant and a romance in a gay spa are among the shows featured on Asia's first LGBT-focused streaming service, which is pushing boundaries in an often highly conservative region.
GagaOOLala brings more than 1,000 feature films, shorts, web series, and documentaries to people across Asia, where censorship and traditional attitudes mean there has been little in the way of gay content in the mainstream media.
After launching in 2017 in Taiwan, a beacon for gay rights since becoming the first place in Asia to legalise same-sex marriage, it has expanded to 21 territories including several that still criminalise homosexuality.
"One of the main impetuses for me to create GagaOOlala, (is) to kind of dispel a lot of the myths and misconceptions that a lot of people might have about LGBT people," said Jay Lin, a prominent LGBT rights activist in Taiwan who founded the platform.
"We're not all living really tragic lives -- we're entrepreneurs, we're fathers," the 46-year-old, who is raising twin boys with his partner in Taipei, told AFP.
With about 280,000 members, made up mainly of gay people but also including a significant number of straight women, its success comes as some progress is made on LGBT rights in parts of the region.
As well as Taiwan's move to legalise same-sex unions in May, India's Supreme Court last year struck down a colonial-era ban on gay sex.
- Dire rights situation -
But the gay rights situation remains dire in other countries where the platform operates -- making its presence in those markets all the more important, supporters say.
Gay sex is still banned in Singapore as it is in Malaysia, where in the past year women and men have been caned under Islamic laws for having same-sex relations.
The tiny, oil-rich sultanate of Brunei introduced death by stoning for gay sex as part of a harsh new sharia penal code earlier this year –- but later rolled it back following a storm of criticism.
Censorship also persists in some countries, with Malaysia's film board this year cutting gay sex scenes from "Rocketman", the movie-musical based on the life of British singer Elton John.
The platform -- which is planning a global launch next year -- has not run into any regulatory hurdles so far, according to Lin, but he acknowledged the need to tread carefully in more conservative places.
The service often relies on closed chat groups, social media and LGBT influencers for promotion instead of advertising openly.
Lin's team started by building up GagaOOlala's library with Western content, but has since branched out, making an effort to find content from across Asia.
Earlier this year GOL Studios, a sister platform, was launched to help LGBT filmmakers find talent and funding, as well as distribute and market their work.
- Homegrown content -
The platform ramped up its production of original content this year, making its first Thai film, its first lesbian feature film in Japan and a Germany-Spain co-production.
"As we have developed..., we have realised that actually a lot of Asians also want to see Asian faces, and watch Asian stories and watch films take place in places or cities that they're familiar with," said Lin.
For streamers focusing on niche areas like GagaOOLala, original shows are key to building their brands.
Lin said interest in the platform jumped after the recent release of the "Handsome Stewardess", a series about a Taiwanese, tomboyish lesbian who takes a job as a flight attendant to pursue her new love interest to Singapore.
"The Teacher", another original about a gay educator who is in love with an HIV-positive married man, also proved a hit, bagging best supporting actress at the Golden Horse awards, dubbed the Chinese-language "Oscars".
GagaOOlala is not alone in relying on original content to draw in viewers and boost its profile.
Bryan Seah, head of original productions at Southeast Asia-focused streamer Hooq, said people felt "pride" at seeing local performers on screen.
Viewers were sending a message that "I want to see my favourite Indonesian actor, I want to see my favourite Filipino director, fronting something that has the scale and ambition to match the best Korean content", he said.
So, Kajol and Twinkle Khanna’s show, Two Much, is already near its fourth episode. And people keep asking: why do we love watching stars sit on sofas so much? It’s not the gossip. Not really. We’re not paying for the gossip. We’re paying for the glimpse. For the little wobble in a voice, a tiny apology, a family story you recognise. It’s why Simi’s white sofa mattered once, why Karan’s sofa rattled the tabloids, and why Kapil’s stage made everyone feel at home. The chat show isn’t dead. It just keeps changing clothes.
Why Indian audiences can’t stop watching chat shows from Simi Garewal to Karan Johar Instagram/karanjohar/primevideoin/ Youtube Screengrab
Remember the woman in white?
Simi Garewal brought quiet and intimacy. Her Rendezvous with Simi Garewal was all white sets and soft lights, and it felt almost like a church for confessions. She never went full interrogation mode with her guests. Instead, she’d just slowly unravel them, almost like magic. Amitabh Bachchan and Rekha, they all sat on that legendary white sofa, dropping their guard and letting something real slip out, something you’d never stumble across anywhere else. The whole thing was gentle, personal, and almost revolutionary.
Simi Garewal and her iconic white sofa changed the face of Indian talk showsYoutube Screengrab/SimiGarewalOfficial
Then along came Karan Johar
Let’s be honest, Karan Johar changed the game completely. Koffee with Karan was the polar opposite. Where Simi was a whisper, Karan was a roar. His rapid-fire round was a headline machine. Suddenly, it stopped being about struggles or emotions but opinions, little rivalries, and that full-on, shiny Bollywood chaos. He almost spun the film industry into a full-blown high school drama, and honestly? We loved it up.
Kapil Sharma rewired the format again and took the chat show, threw it in a blender with a comedy sketch, and created a monster hit. His genius was in creating a world or what we call his crazy “Shantivan Society” and making the celebrities enter his universe. Suddenly, Shah Rukh Khan was being teased by a fictional, grumpy neighbour and Ranbir Kapoor was taunted by a fictional disappointed ex-girlfriend. Stars were suddenly part of the spectacle, all halos tossed aside. It was chaotic, yes, but delightfully so. The sort of chaos that still passed the family-TV test. For once, these impossibly glamorous faces felt like old friends lounging in your living room.
Kajol and Twinkle’s Amazon show Two Much feels like friends talking to people in their circle, and that matters. What’s wild is, these folks aren’t the stiff, traditional hosts, they’re insiders. The fun ones. The ones who know every secret because, let’s be honest, they were there when the drama started. On a platform like Amazon, they don’t have to play for TRPs or stick to a strict clock. They can just… talk.
People want to peep behind the curtain. Even with Instagram and Reels, there’s value in a longer, live-feeling exchange. It’s maybe the nuance, like an awkward pause, a memory that makes a star human, or a silly joke that lands. OTT gives space for that. Celebs turned hosts, like Twinkle and Kajol in Two Much or peers like Rana Daggubati in Telugu with The Rana Daggubati Show, can ask differently; they make room for stories that feel earned, not engineered.
How have streaming and regional shows changed the game?
Streaming freed chat shows from TRP pressure and ad breaks. You get episodes that breathe. Even regional versions likeThe Rana Daggubati Show, or long-running local weekend programmes, prove this isn’t a Mumbai-only appetite. Viewers want local language and local memories, the same star-curiosity in Kannada, Telugu, or Tamil. That widens the talent pool and the tone.
From White Sofas to OTT Screens How Indian Talk Shows Keep Capturing HeartsiStock
Are shock moments over?
Not really. But people are getting sick of obvious bait. Recent launches lean into warmth and inside jokes rather than feeding headlines. White set, gold couch, or a stage full of noise, it doesn’t matter. You just want to sit there, listen, get pulled into their stories, like a campfire you can’t leave. We watch, just curious, hoping maybe these stars are a little like us. Or maybe we’re hoping we can borrow a bit of their sparkle.
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