Park Jin-hai primarily focuses on K-dramas, entertainment shows and actor interviews. Beyond that, she also pens articles covering the broader arts scene, with a particular emphasis on classical music, dance and various aspects of lifestyle. Since joining The Korea Times in 2013, she has made significant contributions in the realms of hallyu (Korean wave), industry news and international affairs.
Beyond 'Squid Game': K-dramas need to refocus on Asian market
Actors Kim Soo-hyun, top, and Kim Ji-won appear in the tvN romantic drama, "Queen of Tears." Courtesy of CJ ENM
By Park Jin-hai
Gigi, 31, a dedicated K-drama fan from the U.S., attributes her decade-long passion for Korean dramas to their engaging narratives and rich character development. Starting with "Boys Over Flowers" (2009), her interest in K-dramas has evolved over the past 10 years from fairy tale-like stories to more realistic and unconventional ones. She highlighted the tvN drama "Queen of Tears" as a notable example of this evolution.
"I already love both 'Queen of Tears' actors and the dynamic between the two was intriguing. The push and pull of energy and their love can be seen from the start," she told The Korea Times.
"Korean dramas have a lot of layers in characters and the plot is not always predictable. The actors' emotions draw you in and captivate you. This I believe is what sets them apart from western shows and creates an almost cult-like following."
"Queen of Tears," along with "Parasite: The Grey" and "My Demon," ranked on Netflix's top 10 Non-English content chart in the first half of the year. The drama has generated enthusiastic responses on social media in both Asian and Western countries by subtly critiquing gender disparities embodied in patriarchal customs.
Poster images for SBS drama, "My Demon" / Courtesy of SBS
Culture critic Jung Duk-hyun attributes the success of these dramas to the powerhouse creators behind them.
"Queen of Tears" is written by the acclaimed Park Ji-eun, known for hits like "My Love from the Star" and "Crash Landing on You." "Parasite: The Grey" is directed by Yeon Sang-ho, famous for "Train to Busan," while "My Demon" stars Song Kang, a highly favored actor in Netflix dramas.
He points out that this also suggests a shift in the Korean drama market, moving away from darker, genre-specific content led by "Squid Game," to Korea's strengths — romantic comedies — which particularly appeal to Asian audiences.
Despite concerns that the Korean content industry might have peaked, with no new blockbusters emerging to match the global impact of "Parasite" and "Squid Game" in recent years, culture critic Kim Hern-sik noted that mid-size hit dramas continue to thrive, particularly in non-English-speaking markets, including Asia.
A recent example is "Lovely Runner," a low-budget rom-com that swept various OTT charts in over 130 countries.
"Asian audiences tend to prefer stories with a more nuanced sense of morality, where good and evil aren't simply black and white. All three works that made it into the Netflix chart share this characteristic. For instance, in 'My Demon,' the antagonist isn't purely evil, and in 'Parasite: The Grey,' the parasites symbolize coexistence. Even 'Queen of Tears' delves into complex relationships rather than straightforward good versus evil. This emphasis on humanism and community resonates well with non-English-speaking audiences. In contrast, Western audiences often favor more competitive narratives, such as 'Physical 100," Kim said.
Kim points out that the Korean content industry has been overly focused on the western market in recent years, neglecting its strengths in Asia.
"(Korea) keeps churning out content that mimics the success formula of western content. But there are quite a few dramas including 'The 8 Show' — constructed with a format that's currently popular and successful in the western world but has ended up being less popular than 'Squid Game,'" the critic said.
He also mentioned Tving's period drama "Queen Woo" as another example.
"People raved about the drama, comparing it to 'Game of Thrones,' but I found it to be a bit of a genre mishmash. It didn't feel like a typical Korean historical drama, nor did it fully align with western tastes," he said.
The critic suggests that the Korean content industry should prioritize Asian audiences, where its true strength lies in creating works that resonate with the region's preference for nuanced morality and humanism — qualities that are highly valued in Asian markets.
"The absence of a global No. 1 drama is not a cause for alarm. It's an opportunity to celebrate the diversity of Korea's content, especially our beloved melodramas. 'Jewel in the Palace' is a prime example of how Korean dramas can captivate audiences worldwide (with Korea's traditional elements)," Kim said.
"While short-term gains might be uncertain, the long-term potential of Korean content in non-English speaking markets is immense. Only a few countries possess the cultural depth and storytelling abilities that we do."