Sao-Y (Y Girls) as Prosumers: Boys’ Love Fandom Culture in Thai Social and Digital Media Transformations

Abstract

Background and Objectives: Sao-Y or Y Girls phenomenon in Thai society reflects an ongoing negotiation of identity, transitioning from a subcultural group to a central force in the Boys’ Love (BL) series industry — a hub that drives the global creative economy. Analyzing the dynamics of Sao-Y is therefore essential for understanding how consumer power generates market value, how fans evolve into cultural producers, and how this community reconstructs definitions of sexuality while challenging existing power structures within Thailand’s contemporary media and cultural landscape. This study aims 1) to investigate the dynamics of Sao-Y culture as consumers and 2) to investigate the phenomena and creative production of Y Girls in their role as producers.

Methods: This article is a qualitative study based on documentary research, drawing on research studies and theses related to Y Girls, alongside an analysis of social phenomena. Additionally, non-participant observation was conducted informally within BL fan club communities on the platform X (formerly Twitter). The communities observed were publicly accessible, requiring neither membership nor administrative approval. Observable data included text-based communication, images, audio content, user comments, and hashtag usage.

Results: The findings reveal that Sao-Y culture in contemporary Thai society has transitioned from a subculture into a culturally and economically influential group with a distinct presence in media and the creative economy. However, this transformation also highlights a contradiction between the free expression of identity in digital spaces and the concealment of identity in physical spaces due to social pressures and stigmatization. As a result, Sao-Y construct a “dual identity” to negotiate their social positioning. Sao-Y as “prosumers” transforming from consumers into producers of cultural activities. Beyond their strong purchasing power and loyalty, they act as the key mechanism driving the BL series creative economy (Y-Economy) through active participation in Fan Meetings and Fan Projects. At the same time, as producers, they create original content such as Fan Fiction, imaginatively pairing their favorite Boys’ Love couples. These practices expand audience bases and extend the popularity of Thai BL couples into international markets. This driving force has contributed to Thailand’s recognition as a hub of the Boys’ Love series industry, and it is anticipated that the Thai Boys’ Love series industry will continue to grow rapidly.

Application of this study: The study of the dynamics of Y Girls in Thai society contributes to an understanding of trends in pop culture consumption, fan behaviors among contemporary Thai youths, and the role of online media in shaping Y Girl identity. It also provides guidance for media producers in designing content that appropriately responds to the needs of this audience group and in understanding emerging trends in the market.

Conclusions: The Y Girl phenomenon has shifted from a subculture to a driving force of cultural and economic change. It constructs a dual identity as a means of negotiating with heteronormative social norms. Y Girls play the role of “prosumers” and possess strong purchasing power, making them a key mechanism in driving the substantial growth of Thailand’s Boys’ Love series industry. This momentum has positioned Thailand as a hub for BL series content, extending its cultural influence to global markets and supporting greater recognition of gender equality and sexual diversity.