The industry’s response to these challenges includes embracing seasonal formats and recycling successful intellectual property through spin-offs. Popular variety shows like “Three Meals a Day” and “I Live Alone” have adopted this strategy, with viewers consistently supporting these familiar formats. (Image: a screenshot of “I Live Alone” on MBC)
SEOUL, Nov. 9 (Korea Bizwire) – As South Korea’s entertainment industry grapples with economic headwinds, producers are shifting from expensive dramas to more cost-effective variety shows, with character development emerging as a crucial factor in both formats, industry experts said at a forum on November 7.
At the K-Culture Trend Forum held at Amore Pacific headquarters in Seoul, media analysts and industry professionals gathered to discuss the changing landscape of Korean entertainment amid growing competition from global streaming platforms.
“The content competition in the OTT era has become a survival of the fittest,” said professor Yoon Seok-jin of Chungnam National University’s Korean Literature department. “We’re seeing a strong preference for narratives featuring authentic, benevolent characters.”
Yoon highlighted a notable trend in recent Korean dramas: the subversion of traditional gender roles in romantic storylines. He cited “Queen of Tears” as an example, where the typical chaebol-commoner love story was reimagined with reversed gender roles, and “Love Next Door,” which featured male characters in supportive roles to female leads.
The industry’s economic challenges have paradoxically led to creative innovations, according to Nam Ji-eun, a reporter for The Hankyoreh. “As production bubbles burst, we’re seeing more focus on storytelling fundamentals and characters, along with increased gender sensitivity in narratives,” Nam observed.
A notable trend in recent Korean dramas is the subversion of traditional gender roles in romantic storylines. “Queen of Tears” is such case. (Image from tvN)
In the variety show sector, significant changes are also evident. “We’re seeing two major trends: shows without MCs and ‘wholesome competition,’” said Ahn Soo-young, a former MBC producer. Ahn noted that top-tier hosts like Yoo Jae-seok and Kang Ho-dong are migrating to YouTube, where they enjoy greater creative freedom and direct monetization opportunities.
The financial pressures on the industry are substantial. Lee Sang-baek, CEO of AStory, which produced the hit series “Extraordinary Attorney Woo,” warned that despite the global popularity of K-content, many productions are operating at a loss. “Even dramas with ratings over 10% and significant buzz are recording deficits,” Lee said.
Traditional broadcasters are reducing drama production as advertising revenues decline. This has raised concerns about the industry’s future. “The current success of K-dramas stems from professionals trained in broadcasting stations 10-20 years ago,” Lee explained. “If we continue to reduce broadcasting infrastructure, the future of K-content could be at risk.”
The industry’s response to these challenges includes embracing seasonal formats and recycling successful intellectual property through spin-offs. Popular variety shows like “Three Meals a Day” and “I Live Alone” have adopted this strategy, with viewers consistently supporting these familiar formats.
At the forum, when questioned about continuing drama production despite losses, Ahn explained that while dramas may create short-term losses, they remain crucial for maintaining media companies’ influence and providing content for international markets.
Yoon concluded by emphasizing the need for continued investment in content research and development, including experimental formats and single-episode dramas. “Policy-level support for content research and investment is essential for the future of Korean dramas and variety shows in this era of global streaming platforms,” he said.
Ashley Song (ashley@koreabizwire.com)
