[Edaily Reporter YUN GI BACK ] From juvenile crime to military abuses and assisted dying—topics that were once difficult to tackle in broadcast dramas are now reaching audiences around the world. As Korean content has broken free from the constraints of fixed programming schedules and ratings, its storytelling and modes of expression have become more diverse. It has been 10 years since Netflix entered the Korean market. Not only has the content production system changed, but the criteria for “what stories can be told” are also evolving.

◇From Juvenile Crime to Military Abuses… Content That Raises Social Questions
Choi Kyung-sook, a planning producer at Kakao Entertainment who has worked in the broadcasting industry for over 20 years, has experienced these changes firsthand. Choi, who planned the Netflix series “Eun-joong and Sang-yeon,” said, “In the past, we had to target 15-year-old viewers to secure high ratings and get the show scheduled on broadcast networks, so we created stories that as many people as possible would watch.” She added, “Since Netflix came along, we’ve been able to bring out much more diverse stories, and the range of subject matter has expanded.”
While the traditional broadcasting environment prioritized the likelihood of getting a time slot and mass appeal, online video services (OTT) differ in that they allow for creative experiments that break away from conventional formulas, targeting viewers with diverse tastes.
“Eun-joong and Sang-yeon” is a prime example of this. The series depicts the lives of two women who are both friends and rivals; it raises questions about a dignified death when Sang-yeon, diagnosed with terminal cancer, asks Eun-joong to accompany her on a final journey to assist in her death. The series won the Best Drama and Best Screenplay awards in the Broadcasting category at the 62nd Baeksang Arts Awards, as well as the Grand Prize at the 5th Blue Dragon Series Awards. Park Ji-hyun became the first Korean actress to be nominated for Best Actress at the International Emmy Awards.
“D.P.” shed light on violence and injustice within the military through a military desertion apprehension unit tasked with tracking down deserters. Director Han Jun-hee stated, “It wasn’t made to attack anyone or assign blame,” adding, “Although we may not know the answer, I want to pose meaningful questions.” Immediately after the series’ release, Google search volume for “desertion” in South Korea increased 7.4-fold, and then-Minister of National Defense Seo Wook praised it for providing new momentum to identify blind spots in military command.
“Juvenile Court,” which deals with juvenile crime, also did not shy away from social controversy. Writer Kim Min-seok explained that he embodied the conflicting positions of public opinion favoring harsh punishment and the protection of juvenile offenders through two characters. In particular, he shared an anecdote from the production process in which a Netflix representative suggested, “Rather than being overly concerned with global performance from the start, let’s tell our story.” The judgment was that a story faithfully capturing the unique characteristics of Korean society would, in fact, resonate with a global audience.

◇The 16-episode, 60-minute formula has been broken… Formats adapted to suit the story
Not only the subject matter but also the format of the productions has become more flexible. While traditional broadcast dramas typically adhered to a 16-episode format with each episode running around 60 minutes, Netflix allows the number of episodes and runtime to be adjusted according to the nature of the work. The focus is on choosing a length that suits the story rather than simply filling a predetermined broadcast time slot.
Director Park Yoon-seo of *Girigo* shared her experience of shortening a script that was originally 45 minutes long to just over 30 minutes. “If this had been a broadcast drama, I would have had to stick to the length no matter what, but on Netflix, I was told, ‘Just make it entertaining,’” she explained. “Once we gained that freedom, the writer and I adjusted the timing of the cuts and made many changes.”
Global distribution networks have also opened up new opportunities for genres with limited mainstream appeal. A prime example is the film *The History of Confession*, which depicts first love set in 1998. Director Namgung Seon recalled, “It’s a charming genre that doesn’t have a broad fan base within a single country, but when fans from all over the world came together, it was incredible,” adding, “I received messages from places like Colombia and Poland saying, ‘Your movie is causing a sensation in our country.’”
Actors have also experienced significant changes. Kim Mu-yeol of *True Education* said, “In the past, what we could show on TV and in movies was limited to each medium, but through Netflix, we can now showcase the strengths of both.” He added, “It’s as if actors have been given a stage where they can freely express themselves.”
Netflix’s 10-year presence in Korea has expanded more than just the distribution reach of its content. It has also broadened the possibilities for stories that were previously overshadowed by programming constraints to see the light of day. This is particularly significant because Korean-themed content can resonate with audiences worldwide. The next competitive edge for K-content lies not in repeating familiar formulas for success, but in discovering stories that haven’t been fully explored and offering fresh perspectives.