Indonesian entertainment is no longer a one-way flow from Jakarta to the regions. With the rise of regional content (e.g., Minang-language soap operas, Javanese TikTok creators) and the global export of horror films (e.g., Impetigore , Satan’s Slaves ), Indonesia is becoming a cultural producer, not just a consumer. However, three challenges remain: (1) the monopolistic power of media conglomerates stifles diversity; (2) rising religious conservatism threatens creative freedom; and (3) the digital divide between urban and rural audiences creates unequal access. Future research should focus on how Gen Z Indonesians use streaming and gaming platforms to negotiate hybrid identities—simultaneously global, local, and Islamic.
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