It has been argued that cultural and national boundary crossings of television dramas are facilitated by ‘cultural proximity’ between the production and reception locations. Often dramas are dubbed into local target language; dubbing domesticates the foreign content, thus facilitates reception. In such instances, the pleasure of consuming the ‘foreign’ is preserved in the visual elements of the dramas. Studies of real time audience viewing practices found that they tend to shift intermittently between identifying and distancing themselves from the characters and actions on screen. Furthermore, identification tends to be at the level of abstract identity markers, such as ‘understanding between human beings’ or some vague notion of ‘being all Asians’. In contrast, distancing tends to be from culturally specific elements of the production location, such as ‘it is so typically Korean’, thus unlike the audience him/herself. A transnational audience is therefore a fragmented figure rather than a culturally consistent one. This fragmentation, especially in distancing the foreign, limits the potential of transnational television viewing in generating a pan-regional identity among its audiences.