[Edaily Reporter YUN GI BACK ] “The actors and the platform truly did justice to the script written by a fearless rookie writer.”
This is the viewer comment that writer Kim Min-seok—who won the Best Screenplay Award at the 58th Baeksang Arts Awards for the Netflix series *Boy Judge*—cited as the most memorable. Given that the series tackles the heavy subject of juvenile crime, there were initial concerns that it might not see the light of day. “I was very worried about whether this story would ever be released,” Kim recalled, adding, “Netflix didn’t set any limits on expression in advance; they gave me the freedom to do whatever I wanted.”

Netflix, which entered the Korean market in 2016, is celebrating its 10th anniversary this year. Over the past decade, it’s not just the way people watch content that has changed; the way content is planned and produced has also evolved. In a production environment where a project’s fate was once determined by the presence of star actors, popular themes, and the likelihood of broadcast scheduling, the originality of the story and the potential of the creators have emerged as new competitive advantages.
Ted Sarandos, Netflix’s co-CEO, emphasized during his induction into the Television Academy Hall of Fame last August, “Netflix has put viewers in control, allowing them to watch whatever content they want, whenever and wherever they want,” adding, “This has changed not only how we watch TV but also how we make it.” As he noted, the changes brought about by Netflix have extended beyond how content is consumed to the production process itself.

A key indicator of this shift is the proportion of new creators. According to Netflix, one out of every three Korean series and films released over the past three years was the debut work of a new director or writer. “Lady Dua,” which earned Shin Hye-sun and Park Bo-kyung the Best Actress and Best Supporting Actress awards, respectively, at the 5th Blue Dragon Series Awards, was written by newcomer Choo Song-yeon. Director Kim Da-min of “Sweet Part-Time Job,” which premiered at the Busan International Film Festival, is also making her series directing debut.
Behind this shift lie global distribution networks and subscription-based business models. Although Korean speakers make up only a tiny fraction of the world’s population, Korean content on Netflix has established itself as the second-most-watched category after English-language content. This means creators can now reach audiences around the world who will consume their works, without having to rely solely on the tastes and recognition of domestic viewers.
Unlike broadcast scheduling, which requires securing as many viewers as possible at a set time each week, Over-the-Top (OTT) services can deliver content to subscribers with diverse tastes. While this does not mean the performance of a specific title is unimportant, it has created greater scope to build a portfolio of diverse stories rather than focusing solely on mainstream genres. This is the context that has made it possible to invest in emerging creators and experimental subject matter.

This shift is also evident in actor casting. While in the past, the star power of well-known actors was the key factor driving investment and scheduling, there has recently been a growing trend toward discovering new faces that suit specific characters and productions. “True Education” showcased newcomers such as Park Ji-yeon, Yoo Tae-ju, and Jang Yo-hoon by utilizing a structure where the central character changes with each episode, and “Scandal Review” also provided opportunities to new actors like Shin Yoon-ha, Chae Seo-rin, and Kim Ji-an.
“Girigo,” directed by newcomer Park Yoon-seo, is a prime example of this shift. After serving as an assistant director on “Kingdom” Season 2, Director Park made her series directorial debut with a cast consisting primarily of newcomers, even in the lead roles. The series ranked in the top 10 of the Global Shows category for five weeks, and Jeon So-young won the Best New Actress award at the Blue Dragon Series Awards.

“When I asked if it was okay to cast only newcomers

I was told that what matters most is whether an actor is suited for the role and can convince viewers—not their fame,” Director Park explained

“This allowed me to focus on the freshness of the entire production rather than on familiar names.”
The changes Netflix has brought to the Korean content industry over the past decade go beyond simply expanding overseas reach. It is significant in that it has broken away from conventional formulas for success and broadened opportunities for new stories and creators to enter the market. In fact, from 2016 through last year, Netflix collaborated with approximately 80 domestic production companies to produce or co-produce more than 200 Korean titles. However, as dependence on global platforms grows, building a sustainable production ecosystem—including securing intellectual property (IP) rights for production companies and ensuring fair revenue sharing—remains a challenge.
The key now is to ensure that these opportunities do not end as one-time successes but instead lead to a sustainable creative ecosystem. Moving beyond the traditional formula of relying on stars and massive production budgets, the consistent discovery of undiscovered stories and creators is expected to be the competitive edge that drives the next decade of K-content.