Are multiple seasons becoming the new norm for Korean dramas?
Scenes from "Flex X Cop" / Captured from SBS Drama Instagram
Korean dramas are increasingly adopting a multi-season format. Following the lead of streaming platforms, traditional broadcasters have begun releasing new dramas that build on the worlds and characters of earlier installments. Industry watchers say the shift reflects efforts to reduce the risk of failure at a time of increasing production costs and growing uncertainty over whether new projects will succeed.
SBS stands as powerhouse in season-based dramas
SBS sits at the forefront of Korea's season-based drama production. The massive success of its three-season project “Dr. Romantic,” which first aired in 2016 and at one point reached peak ratings of 28.4 percent, fueled a push for multi-season drama production.
The successes that followed, including “The Fiery Piest,” “The Penthouse: War in Life” and “Taxi Driver,” have turned SBS into an undisputed powerhouse for dramas that keep going.
A poster for “Taxi Driver 3” / Courtesy of SBS
“What makes SBS’ season-based dramas so successful is a combination of strong worldbuilding, compelling characters and stories of karma where justice prevails,” said Kim Ki-seul, head of programming.
The dramas set to return include “Flex X Cop,” which follows an immature third-generation chaebol heir who becomes a detective, played by Ahn Bo-hyun. “Good Partner,” written by divorce attorney Choi Yu-na and based on real-life court cases, will also be back for a second season.
SBS also confirmed that the second season of “The Judge from Hell” is in production. The drama stars Park Shin-hye as a demon who enters the body of a judge and punishes sinners.
Competing for new viewers while trying to retain loyal subscribers, streaming platforms continue to expand on the success of their original series. Tving recently wrapped up the third and final season of “Yumi’s Cells” and is eyeing turning “The Legend of Kitchen Soldier” into a multi-season project.
Netflix continues to expand its series, including “Squid Game,” “Weak Hero,” “New Recruit,” “Bloodhounds” and “All of Us Are Dead.” Similarly, Disney+ is working on the second season of “Moving.” Industry observers say the pattern is increasingly visible even among new dramas, which often have open-ended finales or release post-credit scenes to suggest a sequel.
A scene from the third season of “Yumi’s Cells” / Courtesy of Tving
Storytelling strategy holds key to success
One explanation for the surge of dramas with multiple seasons is that broadcasters see them as relatively safe investments, backed by built-in popularity and loyal fans, which is also behind the recent increase in Korean dramas based on popular webtoons and web novels.
Experts say multi-season dramas are also easier to produce.
“Season-based dramas can be made efficiently because producers are essentially adding episodes to a format already proven by the market,” Yoon Suk-jin, a drama critic professor at Chungnam National University, said.
He added that celebrity cast members are also more willing to take part than in the past.
“In the past, sequel productions would often fall through because the main cast members refused to return due to pay or scheduling issues,” Yoon said. “But the overall downturn in the drama industry is encouraging actors to appear in sequels.”
Still, as the saying goes, sequels rarely live up to the original and producing dramas with multiple seasons does not guarantee success. Unlike many overseas dramas that are planned as multi-season projects from the start, Korean dramas often develop them only after the first season becomes a hit, raising concerns that the overall structure of the series may suffer.
“Relying only on the success of the previous installment will eventually hit a limit,” Yoon said. “Producers need to think about new storytelling strategies with each season, such as building more detailed narratives around characters who had smaller roles in earlier installments.”
This article from the Hankook Ilbo, the sister publication of The Korea Times, is translated by a generative AI system and edited by The Korea Times.