Over the past several decades, South Korean television programs have depicted Asia in a manner reminiscent of Western Orientalism. Korean television programs featuring Asia as the object of an exoticizing gaze expose an intriguing variation of Orientalism within the context of late capitalist global culture. To consider how this Korean discourse of Orientalism has been created and evolved, particularly through televisual representations of South and Southeast Asia, the paper attempts a close reading of four Korean television shows: “Asia, Asia” and Global Searching for My Dad, which both feature migrant workers; and Love in Asia and Multicultural Battles between Mothers and Daughters-in-Law, which showcase marriages to migrant women. Despite the misleading terms “Asia,” “global,” and “multicultural” used in the titles of these programs, they all primarily focus on representing the relatively limited region of South and Southeast Asia and its migrants. This paper examines how the four shows generate highly stereotypical images of migrant workers and women from the South and Southeast Asian region, who are associated with generalized ideas of dong-nam-ah in Korea. In particular, it discusses how these televisual representations have helped produce a discourse that can be categorized as Korean Orientalism, which exposes a paternalism and ideology of modernist development directed towards South and Southeast Asia and its people. The paper also argues that despite the typical traits of Orientalism found in all four television shows, the representations of the migrant women differ from those of male migrant workers in that they disclose genderized ideologies of assimilation and multiculturalism resulting from Korea’s persistently patriarchal culture. Overall, through an in-depth reading of the four television shows, the paper considers how the discourse of Korean Orientalism has continued to unfold, closely intertwined with race, class, and especially gender dynamics of the represented Asian Others.