[Edaily Reporter Gim Ga Yeong ] "While interest in Korea sparked by K-dramas has spread to areas such as food, cosmetics, fashion, and tourism, boosting the economic value of the Korean Wave, the number of dramas produced has dropped by about 30% in just two years, from 141 in 2022. This sharp decline in production is a warning sign that could lead to the collapse of the industry."

Song Byung-jun, Chairman of the Korea Drama Producers Association, offered this assessment of the crisis facing the K-drama industry during a joint press conference on overcoming the crisis. The “Joint Press Conference on Overcoming the K-Drama Industry Crisis,” held on the morning of the 11th at the Gwanghwamun Press Center in Seoul, was attended by 12 organizations involved in drama production, including the Korea Drama Producers Association, the Korea Broadcasting Association, the Korea Broadcast Writers Association, and the Korea Broadcast Performers’ Rights Association.
On that day, Chairman Song emphasized the crisis facing the drama industry and urged the government to: △ set the restoration of the annual number of drama productions as a national policy goal; △ actively consider establishing a mid- to long-term K-drama investment and support system worth 1 trillion won; and △ recognize the crisis in the drama production industry as a national policy issue and take comprehensive action. The number of dramas produced must be raised to the 2022 level of 141. Assuming this, 40 additional dramas must be produced annually. Based on a 12-episode drama with a production cost of 800 million won per episode, the production cost per series is approximately 10 billion won. Calculating this for 40 series over five years, the total funding required over that period amounts to 1 trillion won.
According to the association’s data, the number of domestic drama productions has decreased by approximately 30% in just two years, from 141 in 2022. The association pointed out that this was “the result of a combination of factors, including rising production costs driven by the production models of global online video services (OTT) backed by massive capital, reduced investment and scheduling capacity among traditional broadcasters, and difficulties for production companies in securing intellectual property rights and follow-on revenue.” The association also warned, “A decline in production leads to the loss of jobs and creative opportunities, and the exodus of skilled personnel and production teams creates a vicious cycle that further erodes the industry’s overall production capacity.”
Chairman Song stated, “If there are 100 dramas, the remaining 99 are far more important than a single successful drama. This is because those works attract talent, secure jobs, and sustain a diverse range of creative energy,” adding, “That is why securing an annual production volume is crucial.”
Song Young-woong, Chairman of the Korea Broadcasting Performers’ Rights Association, noted, “The association’s total revenue in 2024 was approximately 47 billion won, but in 2025, it dropped by a staggering 13 billion won.” He added, “As the number of productions and production budgets have decreased, the number of cast and crew members has also declined. “The focus should be on how the government views this issue and how it can restore the industry to revitalize our media sector,” he emphasized.
The association also highlighted the problem that the success of one production is not translating into opportunities for subsequent projects. Production companies bear the risks of planning and production, but find it difficult to secure intellectual property rights and follow-on revenue, while writers, actors, performers, and staff cannot continue their careers without a next project.
They continued, “If the production of a single project falls through, the jobs and careers of countless people involved in that work come to a halt. A new writer’s second work, a supporting actor’s first leading role, and a support staff member’s directorial debut were all made possible by an environment where productions were consistently made and opportunities for new challenges continued,” they explained, adding, “Those leading K-dramas today also grew through this path; if this path is severed, the next generation will find it difficult to even enter the industry, and once the production infrastructure collapses, it will not be immediately restored even if market conditions improve.”
In particular, the group believes that national investment is necessary because the value of K-dramas extends beyond their box office success to influence other industries such as food, cosmetics, fashion, and tourism.
The organization noted, “According to the Ministry of Culture, Sports and Tourism and the Korea Foundation for International Cultural Exchange, total Hallyu-related exports in 2025 are projected to reach $18.975 billion (approximately 25.616 trillion won), of which consumer goods and tourism exports account for $8.788 billion (approximately 11.8638 trillion won). “This is an achievement made possible by various Hallyu content, with dramas serving as the key driver of this trend,” the group noted, adding, “Nevertheless, policy remains stuck in the inertia of normal times.” In the 2027 government budget proposal, the Ministry of Culture, Sports and Tourism’s budget for the broadcasting and video sector decreased by 4.5 billion won, from 91.8 billion won in 2026 to 87.3 billion won in 2027, and He also pointed out that the Korea Communications Commission’s budget for promoting broadcasting content has decreased by 4.4 billion won, from 16.8 billion won in 2026 to 12.4 billion won in 2027, "Given the scale and economic contribution of the broadcasting and video industry—with sales of approximately 25 trillion won and exports of approximately 1.6875 trillion won (about $1.25 billion)—government support remains insufficient," the group emphasized.
The organization pledged to fulfill its responsibilities, such as rationalizing production cost structures and establishing fair production practices, stating, “This is not the time to celebrate past successes; it is time to prepare for the next 10 years of K-dramas. If we fail to intervene now as the foundation crumbles, the success of K-dramas—which the world has come to love—will not last much longer.”