The 21st century stands out as an era that changes and transforms conventional diplomatic practices in parallel with the developments in new communication technologies. It is seen that the cultural diplomacy functions have become functional by the states, with the presentation of the cultural values produced by different nations through the international integration process to the nations of various globalizing countries. “Cultural diplomacy”, which has turned into a different field of application beyond traditional diplomatic moves, becomes meaningful as states present their doctrines, which they see as correct, to other countries and nations. In this context, cultural diplomatic activities are carried out in media such as student exchanges, literary works, music, cinema, art, television and cultural representations of countries abroad. The Republic of Turkey also carries out different practices apart from cultural institutions operating abroad such as TIKA and Yunus Emre Institutes. In this context, the study deals with historical Turkish TV series within the framework of cultural diplomatic activities carried out by the Republic of Turkey in recent years. The season trailers of Dirilis Ertugrul (2015-2019) and Kurulus Osman (2020-), the broadcaster in Albania and Kosovo, Klan TV and Klan TV Plus, which are the most exported historical Turkish series with their exports to one hundred and fifty countries, are the positioning of the study. forms the point. This study is based on the season trailers broadcast by the mentioned television channels in the context of two historical Turkish series in a geography where cultural ties continue from the Ottoman Empire to the present Turkish Republic. Historical Turkish TV series trailers, which are country series of imported origin, are redesigned and broadcast by the relevant country channels on a seasonal basis. These broadcast trailers can be an indicator of the cultural preferences of the relevant countries, unlike the trailers in Turkish channels. From this point of view, the study focuses on the fragment codes of the TV series that the mentioned channels in Albania and Kosovo present to their people by preferring Turkish mythology-based scenes. In the study, the place of these codes reproduced by broadcasting organizations in the axis of "cultural diplomatic activities" carried out by the Republic of Turkey and their contribution to "cultural diplomacy" have been tried to be revealed by subjecting the relevant season fragments to semiotic analysis.