Television has held a privileged place in the social sphere since the day it first succeeded in transmitting moving images and has become one of the main sources of entertainment and information. The idea that it triggers social conflicts due to the narratives it constructs has, from time to time, led to criticism. This study was conducted to examine the strategies and potential effects of how the conservative-secular conflict, which has been frequently addressed in recent broadcasting, is presented on screen. The sample consists of the series Bir Başkadır and Kızıl Goncalar, which have a stronger sociological context compared to other series addressing similar themes, and content analysis was used in the examination. To explain the origins of the conservative-secular conflict, Ralf Dahrendorf’s conflict theory, which aims to expand the boundaries of Marxism and Weberianism by placing authority at its center, was employed. The study determined that Bir Başkadır is one of the pioneering productions that laid the groundwork for the rise of the modern conservative-secular conflict in Türkiye. It was identified that the methods of constructing conflict in conventional broadcasting and digital platforms are similar, and that both ideologies are portrayed in extreme forms, detached from their philosophical roots. It was observed that in scenes involving conservative-secular poles, narrative codes change, emphasis is placed on symbols and metaphors, and tension is heightened through side-conflict elements. It was concluded that the ideological conflicts constructed on screen increase politicization in the public sphere and deepen social polarization.