'Seduce my husband's concubine': Why 'The Scandal' brings 'Dangerous Liaisons' back to Netflix

By Hankookilbo

• Published Oct 1, 2026 3:23 PM KST

The Joseon-era drama reached No. 1 in Korea and No. 3 among global non-English series following its Sept. 18 release

During King Jeongjo’s reign, Lady Cho (Son Ye-jin), who lives in Hanyang's Bukchon district and is married to the minister of rites, asks her younger cousin and former lover Cho Won (Ji Chang-wook) to seduce her husband's young concubine, So-ok. Cho Won, Joseon's notorious libertine, rejects the request as too easy. He instead targets Hui-yeon (Nana), a young widow and the eldest daughter-in-law of the left state councilor. A reckless bet begins between two manipulators who believe they can control and exploit love.

Netflix released "The Scandal" on Sept. 18. The series reimagines French author Pierre Choderlos de Laclos’ 1782 novel "Dangerous Liaisons." The original work has inspired dozens of international adaptations, including director Stephen Frears’ 1988 film. This production marks the fourth Korean screen adaptation, following the 2003 film "Untold Scandal," the 2012 film "Dangerous Liaisons" and the 2018 television drama "Tempted."

Director Jung Ji-woo praised the 18th-century novel for possessing classic elegance while remaining strikingly modern during an interview late last month in Seoul's Jongno District. He said he was drawn to the subverted gender roles, noting the intrigue of a woman leading a man who cannot break free.

"Starting from that premise, I structured the narrative so women across social ranks — from noblewomen like Lady Cho and Hui-yeon to the maidservant Eun-sil — take control of their lives and forge their own paths," Jung said.

"The Scandal" reached No. 1 among Netflix series in Korea and No. 3 among global non-English series. The production won praise for employing distinctively Korean cultural storytelling elements, framing the narrative with traditional pansori singing and using animation to breathe life into Joseon-era folk paintings. Historical research shaped the physical setting.

"Amid unchecked urban development at the time, powerful elites abruptly expanded their courtyards, leaving alleyways densely tangled," Jung said. "Through silkworm raising, I wanted to showcase the era's emerging economic productivity and Lady Cho's practical competence."

The series showcases a different side of Son, who returned to historical drama for the first time since the 2002 film "Chihwaseon." Speaking to reporters late last month, the actor said she feared she would regret passing on the role.

Son said she was intrigued by how a woman's extraordinary talent and ambition operate under severe constraints. Lady Cho presents herself as a virtuous noblewoman, but she is highly calculating and reads people's motives behind the scenes.

"My conclusion was that Lady Cho's unfulfilled desires were concealed and ultimately twisted," Son said. "Rather than attempting to evoke sympathy or seek understanding, I tried to portray a living, breathing, complex human being."

The series has also drawn criticism for explicit scenes, slow pacing and Nana's modern appearance. Nana plays Hui-yeon, a woman pressured to fulfill the strict societal obligations of a virtuous widow after losing her betrothed before their wedding. Jung defended the casting choice.

"For someone pressured to die who was initially willing to accept that fate, to experience love and betrayal and defiantly declare her survival required the raw emotional power of Nana's acting," Jung said. "When expressing inner resolve and agency, whether her appearance seemed traditionally Korean or Western was not important."

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.