A Korean drama (Korean: 한국 드라마; RR: Hanguk deurama), also known as a K-drama and Koreanovela, is a Korean-languagetelevision show made in South Korea. These shows began to be produced around the early 1960s, but were mostly consumed domestically until the rise of the Korean Wave in the 1990s. They have since achieved significant international popularity, with millions of viewers across the world.
Beginning around the 1970s, more and more households in South Korea owned televisions. Programs were often produced on low budgets and were mostly consumed domestically. The industry significantly developed in the 1980s, after the spread of color television. Beginning in the early 1990s, several Korean dramas began achieving significant international popularity, primarily in China and Japan. In addition, South Korean popular music ("K-pop") and films began seeing similar successes, which gave rise to rapid international adoption of South Korean media in a phenomenon commonly called the Korean Wave. In the following decades, viewership spread throughout the globe. Rapid growth continued into the 2010s, with the rise in online streaming. Around this period, the American video streaming company Netflix took an interest in the phenomenon, and began releasing Korean dramas on its platform, as well as creating and funding newer such works. This culminated in the release of the 2021 Squid Game, which was watched by more than 142 million households in its first four weeks. In 2022, Netflix reported that 60 percent of its 221 million subscribers had watched a Korean program in the last year.
The success of Korean dramas has had a significant economic impact on South Korea. In 2022, US$561 million of Korean television content was sold abroad, which was a 30% increase from the previous year, surpassing those of South Korea's major export items such as secondary batteries and electric vehicles. The industry also employs tens of thousands of people. Korean dramas have also been cited as a motivation for tourists to visit the country.
History
Beginnings and early years
Radio broadcasting, including the broadcasting of radio dramas in Korea, began in 1927 under Japanese rule, with most programming in Japanese and around 30% in Korean. After the Korean War, radio dramas such as Cheongsilhongsil (1954) reflected the country's mood.
A drama script for the network HLKZ-TV, South Korea's first television station
Television broadcasting began in 1956 with the launch of an experimental station, HLKZ-TV, which was shut down a few years later due to a fire. The first Korean television film was a 15-minute piece titled The Gate of Heaven (천국의 문, Cheongugui mun), on HLKZ-TV. Korea's first drama was Death Row, directed by Choi Chang-bong, Korea's first producer, based on the original play by American playwright Harold Everett Porter.
With the opening of the first national television channel the Korean Broadcasting System (KBS), at the end of December 1961, television dramas began to gain momentum. In the early 60s, single-act dramas such as "Friday Theater" and "Continuous Historical Drama" were aired, and daily soap operas were the main ones entering the late 60s.
The first television series was aired by KBS in 1962. Their commercial competitor, Tongyang Broadcasting (TBC), had a more aggressive program policy and aired controversial dramas as well. The first historical TV series aired was Gukto manri (국토만리), directed by Kim Jae-hyeong (김재형), depicting the Goryeo era. In the 1960s, television sets were of limited availability, thus dramas could not reach a larger audience.
The most popular drama in the 1960s was Sajikgol Old West Room, which aired in 1967, and the first daily soap opera was Snowfall by Dongyang TV in 1968. Meanwhile, The Frog Husband, which aired on MBC in 1969, caused a social stir for the first time in the nation's drama history, based on an affair.
In the 1970s, television sets started to spread among the general population, and dramas switched from portraying dramatic historical figures to introducing national heroes like Yi Sun-sin or Sejong the Great. Contemporary series dealt with personal sufferings, such as Kim Soo-hyun's influential Stepmother (새엄마, Saeeomma), aired by MBC in 1972 and 1973. As technology and funding were limited, Korean channels could not make series in resource-heavy genres like action and science fiction; American and other foreign series were imported instead.
1980s–2000s
The 1980s saw a change in Korean television, as color TV became available. Modern dramas tried to evoke nostalgia from urban dwellers by depicting rural life. Kim Soo-hyun's first real commercial success, Love and Ambition (사랑과 야망, Saranggwa yamang), aired on MBC in 1987 and is regarded as a milestone of Korean television, having recorded a 78% viewership. "Streets became quiet at around the airing time of the drama as 'practically everyone in the country' was at home in front of the TV", according to The Korea Times. The most outstanding classical historical series of the era is considered to be 500 Years of Joseon (조선왕조500년, Joseonwangjo 500 nyeon), a serial that ran for eight years, consisting of 11 separate series. The serial was produced by Lee Byung-hoon, who later directed one of the biggest international successes of Korean drama, Dae Jang Geum (2003–04), which was sold in 150 countries.
The 1990s brought another important milestone for Korean television. As technology developed, new opportunities arose, and the beginning of the decade marked the launch of a new commercial channel: Seoul Broadcasting System (SBS), which facilitated and re-initiated a race for catching viewers' attention. The first real commercial success among Korean television series was Eyes of Dawn (여명의 눈동자, Yeomyeongui nundongja), aired in 1991 by MBC, starring Chae Shi-ra and Choi Jae-sung. The series led the viewers through turbulent times from the Japanese rule to the Korean War. The 1992 MBC miniseries Jealousy starring Choi Jin-sil and Choi Soo-jong is considered the first "trendy drama", marking a breakthrough in filming techniques and the beginning of the romantic comedy genre in Korean dramas.[unreliable source?] The series depicted the lifestyles of young people of the era and is one of the first dramas to air in China, along with Eyes of Dawn. New channel SBS also produced successful series, one of them being Sandglass in 1995. Sandglass was another trendy drama, which the Korean Culture and Information Service considers an important milestone, having changed the way Korean dramas are made by introducing a new format. In this decade, the new miniseries format became widespread, with 12 to 24 episodes. The term Hallyu (Korean: 한류) which comes from Mandarin 韓流, (Pinyin: hán liú) was coined in the late 1990s after the success of Star in My Heart in China, and its popularity elevated the main cast to Hallyu stardom. This era marked the start of export for Korean dramas, setting off the Korean Wave.
The beginning years of the 2000s gave birth to famous Korean dramas and also marked the period of overseas distribution. Some popular ones are Full House, Autumn in My Heart and Winter Sonata. It marks the birth of a new genre, called "fusion sageuk", essentially changing the ways to produce historical series, with successful pieces such as Hur Jun, Damo and Dae Jang Geum. It started to take over the popularity of conventional dramas among audiences in their 10s and 20s because of the shorter runtime, and often features trendy content which teenagers find it easy to relate to.
When KBS2's Iris premiered in 2009, it featured action scenes unusual for dramas and settings in Japan and Europe. Directed by Yang Yoon-ho, known for Fighter in the Wind and Holiday, it generated early excitement and displayed a cinematic quality. The show left a notable impact on Korean action drama and achieved viewership ratings over 35%.
2010s–present
My Love from the Star, which aired in 2014, redefined the trajectory of the Korean Wave. Unlike the earlier movement that was primarily centered in Japan, this series achieved massive popularity and profitability in China, ushering in the "Korean Wave 3.0" era. Following this success, Pinocchio set a new record for exports to China, selling for approximately $280,000 (roughly 311.27 million won) per episode.
The mid-2010s marked a structural shift in South Korean television as dominance migrated from terrestrial networks to cable and pay-TV channels. the tvN series such as Reply 1997 and Reply 1994 evoked deep nostalgia for the 1990s, securing the highest viewership ratings ever seen for cable dramas at that time. Furthermore, Misaeng resonated with audiences by portraying the realistic joys and sorrows of office life. In 2015, the tvN series Reply 1988, became a cultural touchstone, setting a new record for cable television rating. This cultural phenomenon was credited by the BBC for ushering in South Korea’s "cable era," while The Korea Times hailed it as a "National Drama." This record was subsequently surpassed by the 2018 satire Sky Castle, later by the 2020 drama The World of the Married. As of 2026, the latter remains the highest-rated cable drama in history, boasting a peak nationwide rating of 28.371%. Despite major commercial hits like Reborn Rich (2022), and Queen of Tears (2024), that 2020 benchmark remains the industry standard for domestic cable broadcasts.
The late 2010s and 2020s saw newfound attention of K-dramas from international markets. Netflix had begun seeking productions from South Korea and other countries since around 2018 to expand offerings for their service with a growing international audience. These efforts came to fruition when Hwang Dong-hyuk's Squid Game starring Lee Jung-jae, drew in more than 111 million viewers within 17 days of its release in September 2021, becoming the service's most-watched program. For his performance, Lee won he Primetime Emmy Award for Outstanding Lead Actor in a Drama Series in 2022, making him the first person to win that award for a non-English-speaking role, and the first Asian man to win that award.
Several production companies began to produce dramas even before the first season like The Penthouse: War in Life (2020–2021) which aired over three seasons. The introduction of the "season system" is interpreted as changes in the industry due to the 52-hour workweek, viewers' rejection of feature-length dramas, and oversupply of dramas.
In the mid-2020s, dramas aired on terrestrial and cable networks have experienced a significant decrease in viewership. This trend was attributed to changes in viewing habits and the rise in popularity of over-the-top media service (OTT) domestically. In 2025, when the Netflix original series When Life Gives You Tangerines starring IU and Park Bo-gum aired, it garnered cross-generational popularity signaling that OTT consumers have now appealed to all age groups including middle-aged and older viewers. Media outlets have dubbed When Live Give You Tangerines a "National Drama", a sobriquet reserved for productions via over-the-air, cable, and satellite television.
A single director usually leads Korean dramas, which are often written by a single screenwriter. This often leads to each drama having distinct directing and dialogue styles. This differs from American television series, which can rely on multiple directors and writers working together.
The 19:00 to 21:00 evening time slots have usually been reserved for daily dramas, which run every night from Monday through Friday. Dramas in these slots are in the telenovela format, rarely running over 150 episodes. Unlike American soap operas, these daily dramas are not broadcast during the daytime. Instead, the daytime schedule often includes reruns of the flagship dramas. The nighttime dailies can achieve very high ratings. During the late 2000s, for example, the weekend series First Wives' Club recorded 41.3%, according to TNS Korea, and the evening series Temptation of Wife peaked at 40.6%, according to TNS Korea.
Plots and storylines
K-dramas have a multitude of different genres such as action dramas, historical dramas, school dramas, medical dramas, legal dramas, and even horror comedies. While most dramas contain romantic elements and deep emotional themes, some may also contain a tragedy or slice of life theme. There are various styles and tones.
The main themes of Korean television dramas are friendship, family values, and love, blending traditional Confucian values with Western materialism and individualism.
However, it is an emerging trend amongst Korean dramas to showcase ongoing societal issues of Korean society, such as stigma of mental illness, gender inequality, suicide, classism, bullying, spy cameras, corruption, homophobia, or racism.
The term sageuk refers to any Korean television or film drama that is either based on historical figures, incorporates historical events, or uses a historical backdrop. While sageuk directly translates to "historical drama", the term is typically reserved for dramas taking place throughout the course of Korean history.
Often centered on a love story, series set in contemporary times often focus on family ties and romantic relationships. Characters are mostly idealized with Korean male protagonists described as handsome, intelligent, rich, and in search of "one true love". Happy endings are a recurring feature of romantic Korean dramas. This has also been a contributing factor to the popularity of Korean dramas among women.
Korean series were originally produced in-house by the television channels themselves, but have been outsourced to independent companies since the 2000s. In 2012, as much as 75% of all K-dramas were produced this way. Competition is fierce among these companies; out of 156 registered firms, only 34 produced dramas that were actually aired in 2012.
In the late 2010s, a typical Korean drama might cost as much as ₩700 million per episode. Historical dramas have a bigger budget; one episode of the historical romance The Red Sleeve cost as much as ₩950 million. Recently, factors such as improving the work environment, along with whether to sign contracts with domestic and foreign OTT companies such as Netflix, have served as variables. For example, Kingdom had a budget of ₩2 billion per episode.
Often, production companies overrun their budgets and cannot pay salaries. In 2012, actors held a demonstration in front of the headquarters of KBS, expressing their concerns. Actors are usually paid after the last episode is aired. In series made by smaller production companies, there have been cases where the companies went bankrupt and could not pay their actors and crew, while the channel denied all responsibility, claiming all liability was with the bankrupt production firm. Producer Kim Jong-hak spent ₩10 billion on Faith, which was considered a commercial failure, resulting in the inability of Kim to pay crew salaries and other overheads. Kim, who had produced iconic dramas such as Eyes of Dawn and Sandglass, committed suicide after he was accused of embezzlement.
As producing a series involves high expenses, production companies seek to shoot the episodes in the shortest time possible. In contrast to practices elsewhere, the first four episodes of Korean series are usually shot in advance, but the rest are shot continuously as the series is being aired. Scripts are not finished in advance, and may change according to viewer feedback and viewership ratings, with popular characters receiving increased screen time and plotlines changing to match audience expectations. These changes may occur a few hours before daily shooting, and the crew might receive only a few ready pages. The production usually works with three camera crews, who work in a rotating manner to speed up filming. Because of unregulated script changes and tight shooting schedules, actors are almost continuously on standby, and have no time to leave the set or sleep properly. The Korean media have a separate word to describe the irregular naps that actors resort to, in often uncomfortable positions or within the set: jjok-jam (쪽잠), or "side-sleeping". Dramas usually air on two days every week, with following episodes having to be shot during the intervening five days. Some Korean actors have admitted to receiving IV therapy during filming, due to extreme schedules and exhaustion.[unreliable source?] Nonetheless, the live-shoot model remains widely used since the production team can react to audience feedback in real time.
Production teams originally sent two tapes to the channels, a primary copy and a backup copy. However, due to the tight filming schedules, a 70-minute episode might arrive at the broadcasting station on seven separate tapes in ten-minute installments. Thus, while the episode is being broadcast, the crew would be still shooting the last minutes or cutting the rest of the episode. During the airing of the nineteenth episode of Man from the Equator, screens countrywide went black for 10 minutes. Actor Kwon Sang-woo openly complained that he was still shooting King of Ambition 30 minutes before the last episode began airing. In South Korea, some production teams still do planning and scheduling manually instead of using dedicated software.
During the early decades of South Korean television, from the 1960s through the early 1990s, the acting profession functioned as a stable corporate career rather than a pursuit of independent stardom. Major broadcasting stations, such as KBS, MBC, and TBC, operated under an exclusive recruitment system known as Gong-chae. Many veteran actors currently working in the industry began their careers through this system, including Lee Byung-hun, who joined the KBS 14th recruitment class in 1991.
Aspiring actors applied directly to a television network and underwent a rigorous, multi-stage audition process. Once hired, they became salaried employees, earning steady compensation comparable to that of network clerks or producers. Salaries were determined by a strict rank system based on an actor's grade or years of service. Legally bound by exclusivity, actors could only appear in programs produced by their employer; for example, an MBC actor was barred from participating in a KBS drama without a rare formal agreement. Furthermore, actors were required to clock in at the studio, attend mandatory training, and perform additional company duties.
In 1981, KBS and MBC announced the abolition of the exclusive contract system for actors and screenwriters to lower costs and reduce competition. This shift aimed to transition the industry toward a merit-based compensation model that considers both experience and popularity rather than mere seniority. While producers and top-tier stars welcomed the increased flexibility to work across networks, newer actors expressed concerns about stability. The industry anticipated a complete reorganization of talent and a redirection of funds toward enhancing production quality.
The Hallyu movement gained momentum in the late 1990s and early 2000s, led by a foundational group of "first-generation" actors who achieved pan-Asian stardom. In the early 2000s, Japanese media dubbed Bae Yong-joon, Jang Dong-gun, Lee Byung-hun, and Won Bin the "Original Four Kings" of Hallyu. Bae became a central figure when his role in Winter Sonata (2002) garnered a massive following in Japan. Several actresses were also instrumental in expanding the hallyu's reach. Choi Ji-woo an early initiator of the Korean Wave, earned the nickname "Ji-woo Hime" (Princess Ji-woo) in Japan following the success of Winter Sonata and Stairway to Heaven.Song Hye-kyo achieved household recognition across Asia with Autumn in My Heart and Full House. Lee Young-ae sparked global interest in Korean traditional culture through the historical epic Jewel in the Palace. Additionally, Jun Ji-hyun became a top Hallyu star in Chinese-language markets after redefining romantic lead archetypes in the film My Sassy Girl.
By the 2000s, it became customary for production companies to cast popular K-pop idols in dramas. Initially, this generated mixed reactions. as the public often perceived idol acting as less professional than that of trained actors. While some idols faced criticism for poor performances, the concept of the "idol actor" has since become a standard feature of the industry. Many performers have successfully bridged the gap between music and acting, with individuals such as Bae Suzy, IU, Yim Si-wan, Park Jin-young, Doh Kyung-soo and Im Yoon-ah, achieving significant critical and commercial success.
Scriptwriters
Women dominate the drama writing industry; according to the Beijing Metro Reader, they comprise 90% of the profession and penning everything from action to romance. In South Korea, these writers are supported by the Korea Television and Radio Writers Association (KTRWA). This autonomous labor union, located in Seoul, serves roughly 3,700 members working in broadcast and digital media. Beyond community, the KTRWA offers practical protections: writers can register their intellectual property and seek mediation for payment or credit disputes through the organization’s dedicated legal resources.
In South Korea, television scriptwriters often achieve a level of fame comparable to the actors themselves. Prominent scriptwriters typically exert significant influence within the industry. A notable pioneer is Kim Soo-hyun. Kim began her career at MBC after winning a 1968 radio drama competition with her play The Fable of That Year's Winter. Writing under her pen name, she debuted on television in 1972 with the drama Rainbow. Over the following four decades, she became one of Korea's most renowned screenwriters. Her body of work includes some of the most-watched shows in Korean history, such as What is Love (1992), Men of the Bath House (1996), and Trap of Youth (1999). In the book Korea Through TV Drama, author Kim Hwan-pyo notes that the streets would often fall silent during the broadcast of Kim Soo-hyun's Love and Ambition (1987) because "practically everyone in the country" was at home watching.
The next generation of well-known scriptwriters includes the Hong sisters, Kim Soon-ok, Kim Eun-sook, Lee Kyung-hee, Choi Wan-kyu, Noh Hee-kyung, Park Hye-ryun, and Park Ji-eun. Writer Kim Soon-ok is particularly noted for her ability to captivate male viewers, a demographic that traditionally engaged less with television dramas. In 2021, the term "Kim Soon-ok, Kim Eun-sook, and Kim Eun-hee" was used in media reports to highlight the industry's most influential "star writers."
Directors
Directors of Korean dramas often achieve a level of public recognition comparable to that of the actors. Prominent television directors include Lee Byung-hoon, Kim Jong-hak, Pyo Min-soo[ko], and Jang Tae-yoo. In recent years, director Jo Hyun-tak was also propelled to fame through his works Sky Castle, which became one of the highest rated dramas in Korean cable television history, and Snowdrop, which, despite its alleged historical distortions, was ranked first among the most-watched series on Disney+ in Asian countries like Singapore and South Korea.
While scriptwriters are predominantly women, directors are typically men. In the early 2000s, female directors were notably scarce within drama divisions, particularly when compared to other sectors of broadcasting. In February 2005, Lee Yoon-jung became the first female director at MBC, debuting with the MBC Best Theatre[ko]Magic Power Alcohol[ko]. At the time of her appointment, women were significantly underrepresented in the field. By the end of 2005, MBC employed only two female directors, while KBS had four and SBS had none. Lee's most famous work is the 2007 series Coffee Prince. Since then, several other female directors have risen to prominence, including Lee Na-jeong, Kim Hee-won, and Jung Ji-in.
Music
Music plays an important role in Korean dramas. Original soundtracks, abbreviated OSTs, are explicitly made for each series, and in contrast to American series, fans have a need to buy the soundtrack album of dramas. This trend started in the 1990s, when producers swapped purely instrumental soundtracks for songs performed by popular K-pop singers. Tom Larsen, director of YA Entertainment, a distributor of Korean TV series, thinks that Korean soundtracks are polished enough musically to be considered standalone hits.
During the 2000s, it became customary for lead actors to participate in original soundtracks, also partially due to the employment of K-pop stars as actors. Actor Lee Min-ho, and leader of boy band SS501, Kim Hyun-joong both recorded songs for Boys Over Flowers, while the actors of You're Beautiful formed a fictional band and held concerts, where they perform the soundtracks live.[unreliable source?]
OST songs of popular K-dramas can also become hits on regular music charts, with good sales of both physical and digital albums. The chart performance of the OST songs usually co-relate to the popularity of the drama. Songs from the OST of Secret Garden for example, had high digital sales and high rankings on music charts.[unreliable source?]My Destiny, performed by Lyn for My Love from the Star, led music charts in Hong Kong, Taiwan, South Korea, and other Asian countries. It also won the Best OST award at the 2014 Baeksang Arts Awards.[unreliable source?] The soundtrack album of You're Beautiful sold 57,000 physical copies. Performers of OST songs for action series Iris held two concerts in Japan in front of an audience of 60,000 people.
Although the songs in Korean dramas may be a few or repetitive, their choosing process is not considered easy since they are made to convey emotions or scenes. Rocoberry, who composed the soundtrack for Guardian: The Lonely and Great God, created 12 different compositions before I Will Go to You Like the First Snow was chosen, and rewrote it seven times before it got the approval of the production team.
OST composers usually look for singers who have previously had success in the genre. Songs are written to reflect the mood of the series and their structure. Sometimes performers give their own songs for a series. For example, Baek Ji-young thought her song That Man, originally written for her own album, would fit Secret Garden. There are popular OST singers who are often employed, like Baek Ji-young, Lyn, and Lee Seung-cheol.[unreliable source?] Sometimes, foreign singers are invited to perform songs for Korean OST. For instance, Swedish artist Lasse Lindh sang several songs for series like Angel Eyes, Soul Mate, I Need Romance, and Guardian: The Lonely and Great God.
The television rating system is regulated by the Korea Communications Commission, and was implemented in 2000. According to the system, programs, including Korean dramas, are rated according to the following principles (ratings irrelevant to dramas are omitted):
: programs that may be inappropriate for children under 12, such as mild violence, suggestive themes or language.
: programs that may be inappropriate for children under 15. Most dramas and talk shows are rated this way. These programs may include moderate or strong adult themes, language, sexual inference, and violence.
: programs intended for adults only. These programs might include adult themes, sexual situations, frequent use of strong language and disturbing scenes of violence.
There is a tacit knowledge regarding the production of television series in South Korea that uniquely appeals to consumers. K-dramas have a substantial female presence that makes up their following and representation. The female fandom is specifically targeted, and tacit knowledge is applied most effectively in this area. The Korean actors show a wide range of emotions, and many ad-lib without prompting, even producing genuine tears without assistance.
The acting of women in K-dramas appeals to women universally, showing the struggles that pertain only to women. Women in these television series often assume typically male-dominated professions, and they appeal to all women who want to bring down the image of traditional values and male-dominated communities. K-dramas are successful when women can break free of traditional roles and embrace freedom. The men in K-dramas have begun to present a more fluid nature of representation, which challenges the gender roles typically expected of men. Rather than focusing on being "macho" or "manly," men adopt more feminine and androgynous looks in order to cater to female fans. There is a great focus on the beauty techniques used, ranging from makeup all the way to cosmetic surgeries. The androgyny in K-drama, as well as K-pop, is a common phenomenon and draws the attention of women through global targeting.
According to a researcher at the University of Vienna, the popularity of Korean dramas has its foundation in Confucian values they transmit, which Asian viewers can easily identify with. Respect for elders, filial piety, family-orientedness, and the display of perceived "Asian moral values" play an important role in the Korean series. YA Entertainment, the American distributor of Korean dramas, believes that part of the attractiveness of these series come from the quality of camera work, scenic locations, and spectacular costumes, which make the "final product very stylish and attractive, with arguably some of the highest TV production values in the world." Korean series follow their own formula, are innovative and don't conform to Western television productions. Stephan Lee from Entertainment Weekly called Korean dramas "fascinating and weirdly comforting".
Exports of Korean series yielded US$37.5 million in 2003, which was three times higher than the amount reached in 1999. According to data from Korea Creative Content Agency, in 2013, K-dramas constituted 82% of the culture content export of South Korea, with an income of $167 million, which is four times more than a decade before.
A driving force behind the rising popularity is the intense involvement of fans. Because of the live-shooting production of K-dramas, Korean-speaking fans have the opportunity to participate in their creation—a unique phenomenon in the mass media world. They can influence the content of later shows in the series through complaints and suggestions, which are frequently adopted by the production teams.
The global community of non-Korean-speaking fans, on the other hand, is more involved in the consumption aspects: Fans share their opinions through tweets and comments on newsgroups (for example, the Soompi discussion forum) as well as reviews and recaps on websites and blogs. However, the impact of their social media activity goes beyond the fan community. It spreads the word about the K-drama genre to social connections like acquaintances, friends and family (e.g. Facebook friends or followers on Twitter) and thereby generally raises its popularity. But it also affects the creation of new dramas. It influences the popularity of certain dramas, leading to higher demand for those videos from streaming sites and additional income for broadcasters. When a substantial profit results, it raises not only the prestige of people involved in the production but also provides feedback for production teams and indirectly influences future productions.
In China, South Korean programs on Chinese government TV networks accounted for more than all other foreign programs combined in 2006. Hong Kong has its own channel for airing Korean dramas, TVB J2, but ATV also airs Korean series in prime-time slots. My Love from the Star received enthusiastic feedback from China. It was viewed 40 billion times on numerous Chinese video sites. The drama also spurred interest about Korea, shown by China's increased consumption of Korean products such as chi maek (chicken and beer) and Korean cosmetics.
In Taiwan, interest in Korean dramas began when Star in My Heart aired in 1999. Since then, Korean dramas have become very popular, and according to the South Korean mission, 120 K-dramas had been broadcast in Taiwan in the first half of 2011.
Due to the success of Korean dramas in China, some dramas have been compiled to create feature-length films by combining all episodes into one film. The prodigious popularity of Korean dramas in the country has, on some occasions, been caught in the crossfire over diplomatic issues between China and South Korea. Most notable was the THAAD deployment in South Korea, which resulted in the blocking of Korean dramas on streaming services across the country in late February 2017. Following the block, Chinese TV shows showcasing Chinese culture and other similar content replaced Korean content on TV networks' prime time schedules in the country. In November 2017, the ban was lifted unannounced following the appearance of K-pop groups on national TV and the move to resume importation of Korean dramas by Chinese streaming services. In China, apps like IQiyi, which is currently[as of?] also available in Malaysia, Singapore, Taiwan and some other countries in multiple different subtitles, are available to stream and download Korean dramas for viewing.
In 2025, star of My Love from the Star and popular K-drama actor Kim Soo-hyun's fan meeting event in Taiwan was cancelled five days before it was originally scheduled to begin due to issues with his private life.
The Chinese Communist Party-owned daily tabloid Global Times has praised the K-drama When Life Gives You Tangerines after its exclusive release on Netflix, which raised the issue of illegal streaming since Netflix is not available in China. Despite this, a supermarket in Hebei, China, used images of the main characters from the drama in advertisements without permission, including scenes of Park Bo-gum as Gwan-sik selling cabbages and IU as Ae-sun holding a cup of pea rice.
The first Korean drama to gain widespread popularity in Japan was Winter Sonata, which was broadcast on the NHK satellite channel NHK BS2 in 2003. The program was aired twice in the same year due to high demand from viewers. Its star, Bae Yong-joon, was immensely popular leading to a "Yonsama Craze" ("sama" is a Japanese suffix used to show respect for royalty, among others, and "Yon" comes from "Yong" in the actor's name). The fan demographic consisted largely of women in their 40s, 50s and 60s but NHK Broadcasting Culture Research Institute stated the drama "was enjoyed by not just a certain group, but by a great portion of the Japanese people, and its popularity expanded to a widespread interest in Korean culture in general". NHK also hosted a classical concert featuring Winter Sonata's tunes performed by Korean musicians.
Korean dramas boost tourism between Korea and Japan, and are considered a possible way of improving strained relationships between the two countries, as series have become increasingly popular with Japanese viewers. Conversely, the series Iris had several pivotal scenes shot in Akita, Japan, which led to an increase of Korean tourists in that part of country. The popularity of Korean dramas in Japan continued with series You're Beautiful (2009) which earned high ratings in the country, with its star Jang Keun-suk featuring on a Japanese stamp.
In 2018, Ilgan Sports reported that the historical drama Love in the Moonlight, which was first aired in South Korea in 2016, was broadcast in Japan on three channels (TVTokyo, KNTV, and Eisei Gekijou) due to its popularity leading to its star Park Bo-gum being the center of the Korean Wave in Japan akin to Bae Yong-joon. Park Bo-gum has since released a Japanese studio album titled "Blue Bird" in 2020 under Pony Canyon, and has held fan meetings and concerts in Japan's major arenas.
Mongolia
In Mongolia, Korean dramas have become popular and are broadcast during primetime. Dae Jang Geum achieved success in the country and was broadcast five times due to this. Autumn in My Heart, Winter Sonata and Stairway to Heaven were other popular dramas. The popularity of Korean dramas has resulted in interest in learning the Korean language as well as Mongolians travelling to South Korea. It has also led to increased mutually cooperative relations between Mongolia and South Korea.
North Korea
Watching films or TV dramas from South Korea is a serious offence in North Korea, punishable by execution, but people still manage to acquire them on CDs, VHS Tapes, streaming services and DVDs.
In 2021, there was an article that young people who were watching the popular drama The Penthouse: War in Life were caught in Pyeongseong, Pyeongnam Province, and will have to serve more than 10 years. Later, the residents of Yanggang Province began to imitate the famous lines from Penthouse series, and the residents were also unable to avoid punishment.
Brunei
In recent times, Korean dramas have experienced growing popularity in Brunei. The growing impact of Korean culture in Brunei led to the hosting of the ninth Korea Forum in the country at Universiti Brunei Darussalam in 2010. Korean television dramas, movies, music, and clothing have had a great impact on the people of Brunei.
Cambodia
The first Korean drama to be broadcast in Cambodia was Winter Sonata; it was, however, Full House that launched the interest in Korean dramas and entertainment in the country. Following the success of Full House, more Korean dramas have been dubbed into the Khmer language. Korean dramas have become popular, particularly amongst youth in Cambodia.
Indonesia
In Indonesia, Korean dramas have gained popularity and the popular Korean dramas Winter Sonata and Endless Love were aired on Surya Citra Media in 2002. Some Korean dramas have also been remade into Indonesian versions such as Demi Cinta in 2005 which was a remake of the popular drama Autumn in My Heart and Cinta Sejati, a remake of Stairway to Heaven. RCTI and Indosiar are examples of Indonesian television networks that air Korean dramas in the early times, but later Trans TV airing some of popular Korean dramas until today.
Laos
The popularity of Korean dramas and pop culture in Laos has led to many Laotian tourists travelling to South Korea. Korean pop culture has gained popularity in Laos through the Thai TV channels broadcasting Korean dramas and K-pop bands in the country.
Malaysia
In Malaysia, Winter Sonata began airing on TV3 in 2003, which started an interest in Korean pop culture in the country. Dae Jang Geum and Autumn In My Heart were also aired in Malaysia. The popularity of Korean dramas have resulted in a positive reception of Korean expatriates in Malaysia.
Myanmar
In Myanmar, the K-drama Autumn in My Heart was broadcast in the country in 2001, which led to interest in Korean entertainment. When Dae Jang Geum was aired, the drama sparked an interest in Korean cuisine in the country. The rising popularity of Korean dramas and music in Myanmar has led to the Korea Foundation for International Culture Exchange (KOFICE) distributing Korean dramas in the country for free.
Philippines
Since the 2000s, Korean television dramas are a regular source of entertainment in the Philippines. Huge demands from Filipino viewers prompted Philippine television stations to import South Korean programs. For more than two decades, GMA Network has the highest number of Korean dramas broadcast in the Philippines. Filipino politician and SAGIP Partylist representative Rodante Marcoleta complimented that Korean dramas have better stories and has a lot of choices: "they may not be so good at acting, but the flow of the story, especially their society is different so it will attract your interest, you get something to learn. They can show their culture, we see it ourselves and we say, we should adopt that too." President Bongbong Marcos acknowledged the importance of Korean dramas and culture to the Filipinos: "with Korean restaurants sprouting out around the Philippines, Filipinos have shared stories and have laughed over some kimchi, some samgyeopsal with friends and family, and of course, the countless hours we have spent binge-watching our favorite Korean dramas and listening to K-pop. This highlights how the Filipinos love Koreans."
Singapore
In Singapore, Prime 12 (now known as Suria) originally aired the Korean drama Sandglass every week in 1996 and aired Asphalt Man in 1997. Since 2001, Korean dramas have aired on Channel U daily, dubbed into Mandarin Chinese. The launch of KBS World, ONE TV ASIA, Oh!K, Channel M and streaming app, Viu in Singapore allows viewers to watch Korean dramas with a variety of subtitles in a matter of hours after the original South Korean telecast. Currently,[as of?] Singaporeans also get access to Korean dramas through China-originated online platform IQIYI, which first soft-launched its app in 2019 and planned to expand its international bases in Singapore.
Thailand
When Dae Jang Geum was aired in Thailand, Korean food started gaining wide popularity. Due to the lop-sided nature of entertainment exports favoring South Korea, the Thai government requested increased introduction of popular Thai films to South Korean media outlets. This led to the signing of an Agreement of Cultural Cooperation between the two countries in August 2004.
Vietnam
Korean dramas have also gained popularity in Vietnam, particularly among women and young people. The fashion and hairstyles presented in Korean dramas have become very popular among the youth of the country.
Bangladesh
Korean dramas have gained popularity in Bangladesh in recent years. Their rising popularity in the country has led to the Korea Foundation for International Culture Exchange (KOFICE), an organisation which aims to distribute Korean dramas for free to countries, cooperating with broadcasters to distribute Korean dramas for free in the country. With the growing number of K-drama fans in Bangladesh, more and more Facebook groups are popping up, giving them a platform to share their love of the shows with fellow K-drama enthusiasts and take part in events and activities hosted by the groups. One of the largest Bangladeshi K-Drama groups, BD K-Family, arranges a yearly get-together for its members. Other popular Facebook K-Drama groups include K-Drama Archive BD, Korean Lovers Bangladesh, and BD Korean Drama Fam- all of which create opportunities for both local and international fans to participate in discussions about their favourite shows.
Pakistan
In Pakistan, Korean dramas have gained popularity after the broadcast of My Love from the Star, Empress Ki and The Heirs have been broadcast in dubbed on H Now entertainment. Whereas Pakistan Television Corporation aired Dae Jang Geum and Descendants of the Sun being aired in Filmazia. However, during the pandemic, Hallyu sparked and took Pakistan by storm when the hit shows Crash Landing on You, All of Us Are Dead, and Squid Game took off. With the help of Korean Dramas and "K-pop" Pakistani youngsters are getting more familiar with them. Korean dramas are mostly watched by women and young Pakistanis. Korean dramas are unique enough to be endearing and familiar enough to be reassuring for Pakistani viewers because of the similar storylines regarding family, romance, and comedic elements. Pak-Korea Culture Collaboration (PKCC) is a group of young Pakistanis living in Karachi who want to improve ties between both cultures. The youth have worked with the Korean embassy in Karachi on multiple occasions to host festivals and activities, and they have been incredibly successful in their aim.
Bhutan
In the Himalayan kingdom of Bhutan, Korean dramas and entertainment have gained popularity, particularly amongst youth. Before interest in Korean entertainment, Bollywood had largely been the most popular form of entertainment in the country. When the Bhutanese film industry launched in the mid-1990s, Bollywood was the only form of influence on the industry. However, in recent years, Korean entertainment has made significant inroads in the country and influenced the entertainment industry alongside Bollywood. Korean entertainment has managed to influence fashion, and many video shops now sell Korean dramas and movies alongside Bollywood films. The interest in Korean entertainment has also led to controversy with older generations voicing their concern that Korean entertainment will deteriorate Bhutanese culture and traditions.
India
In India, after the late 1990s and around 2000, Korean dramas gained popularity through piracy, particularly in north-eastern states such as Manipur, Assam, Meghalaya, Sikkim, Arunachal Pradesh, Tripura, Mizoram and Nagaland as well as parts of eastern state like West Bengal and more recently in southern states like Kerala, Telangana, Tamil Nadu. Hindi films and TV serials were banned in Manipur in 2000, as a result local television stations began broadcasting subtitled Korean dramas instead from Arirang TV and KBS World. Many young people in north-eastern, eastern, northern and southern parts of India mimic the hairstyles, clothes of Korean actors while Korean fashion became very popular in the region. As part of cultural exchange, public broadcaster Doordarshan telecast Emperor of the Sea and Dae Jang Geum. Korean dramas are dubbed in Tamil on Puthuyugam TV such as Boys Over Flowers, My Love from Another Star, Playful Kiss and many more. Full House and Hwang Jini started airing on Firangi channel in 2008. Reliance Big TV offered KBS World to its subscribers from 2009 on satellite television. Local fan clubs got help from Consul-General of South Korea while Korean Cultural Centre in India (KCCI) under South Korean embassy started mapping popularity of K-dramas. As per KCCI, the motivation to understand Korean drama properly without subtitles is driving the uptake of Korean language classes among the youth with females outnumbering males. DD Bharati broadcast period drama Hur Jun in 2014 that received highest viewer ratings of 34 million from January to October 2014. Online streaming platform ZEE5 launched Descendants of the Sun to test the Indian market from February 8 to March 1, 2017, and found overwhelming positive response for Korean content with viewership ran close to 56 million. The telecast of Korean drama on Cable TV in 2017 stopped as Korean Broadcasting System Network wanted to raise syndication charges due to accumulation of large viewer-ship base in India that included pockets of Bihar, Kerala and Uttar Pradesh due to short 16 to 20 episodes format that are easier for binge-watching. With increasing interest in Korean content among younger generation from tier-1 cities, Samsung through its My Galaxy mobile application is partnering with Korean Broadcasting System (KBS) in 2019 to bring exclusive content for 20 million Indian users. With COVID-19 pandemic, Dish TV started premium K-dramas dubbed in Hindi and Tamil.
Korean dramas also garner high viewership on Netflix, with the second season of the TV series Kingdom being featured in the Top 10 series row as of March 2020. It's Okay to Not Be Okay was similarly on Netflix's Top 10 list in India for several weeks in August 2020. Netflix is actively increasing its investment in Korean content to capture the Indian market. Over-the-top media service (OTT) MX Player confirmed the rising popularity and demand of Korean dramas, particularly among its audience of millenial women, and is now making deals with the South Korean television and radio network company Seoul Broadcasting System (SBS) to bring more content to India. Korean dramas and films became the most visited category for ShortsTV in India. Media experts have analyzed that the themes typical to Korean media, particularly as highlighted in the 92nd Academy Awards winning film Parasite, are relatable to Indian audiences due to their shared Asian cultural heritage and societal values. As per a report from Parrot Analytics, the K-drama series Crash Landing on You, is 1.2 times more in demand than an average TV series that is 89.8% more than all drama titles shown in India forcing broadcasters to make extra slots as women are at the forefront of consumer demand in Korean content category. The COVID-19 lockdown in India proved to be an inflection point in 2020–2021 when Korean drama moved from a niche sub-culture segment to mainstream due to services like Netflix, Rakuten Viki and YouTube. It penetrated to every age group and social background. The popularity of Korean drama forced many over-the-top media service in India such as MX Player, Viu and ZEE5 to bring the dubbed versions in local language that will help cater to large non English speaking audience.
Nepal
Interest for Korean dramas in the Nepal began when Winter Sonata aired on Kantipur Television Network in the mid-2000s. This led to the popularity of other K-dramas such as Boys Over Flowers, Autumn In My Heart, You Are Beautiful and Full House to name a few. Popularity of Korean media products has also led to interest of learning the Korean language and has resulted in the emergence of Korean language tutorials that air on ABC Television in the country. Korean dramas have become popular among Nepali youth and markets are often frequented by teenagers looking to buy the latest dramas. The hairstyles and fashion of Korean actors have influenced the fashion sense of Nepali youth. Fascinated by the lifestyle and food of Korea, restaurants serving Korean cuisine have also been established in the country.
Sri Lanka
In Sri Lanka, the Independent Television Network aired Full House in 2009 and it proved popular. Dae Jang Geum aired on Rupavahini in 2012 and was dubbed in Sinhala under the title Sujatha Diyani (සුජාත දියණී), meaning "The Pure, Valuable Daughter" and received a viewer rate of over 90%. The Independent Television Network, Rupavahini, TV Derana, Sirasa TV, Swarnavahini and TV 1 air Korean dramas dubbed in the Sinhalese language.[unreliable source?] Streaming service, Iflix also streams many Korean dramas with English and Sinhalese subtitles in the country, some as early as 24 hours after their original Korean broadcast. Additionally, the popularity of Korean pop culture in the country has led to an increasingly warm reception towards Korean people.
Middle East and North Africa
Since the mid-2000s, Israel, Iran, Morocco and Egypt have become major consumers of Korean culture.[unreliable source?] Following the success of Korean dramas in the Middle East & North Africa, the Korean Overseas Information Service made Winter Sonata available with Arabic subtitles on several state-run Egyptian television networks. According to Youna Kim (2007), "The broadcast was part of the government's efforts to improve the image of South Korea in the Middle East, where there is little understanding and exposure towards Korean culture" (p.31). The New York Times reported that the intent behind this was to contribute towards positive relations between Arab & Berber audiences and South Korean soldiers stationed in northern Iraq.
MBC4 (Middle East Broadcasting Channel) played a major role in increasing the Korean wave's popularity in the MENA region (Middle East and North Africa). This broadcasting channel hosted a series of Korean drama, paying for the Arabic subtitles or dubbed. starting 2012 such as Boys Over Flowers (أيام الزهور), You're Beautiful (أنت جميلة), Dream High (حلم الشباب), Coffee Prince (مقهى الأمير). Some Arab countries opposed Korean content (dramas, reality show) out of fear that their youth would abandon Islamic traditions in order to adopt Western modernity. However, this did not stop the Korean industries from exporting more Korean Dramas to the Arab world in the following years such as The Heirs (الورثة). The popularity of Korean dramas in the MENA region-and its continuous growth- originates from the content of these dramas. As the majority of the plots of Korean dramas focus on social issues (love between different social classes or family problems for instance), the Arab audiences fit themselves and could relate to the Korean socio-cultural values as they seem appealing to them. So Korean dramas play the role of an equilibrium point where two, somehow, different cultures could create a new cultural space where these two different cultures could meet.
LBC SAT and Rotana Drama (Rotana Group) played a major role in increasing the Korean wave's popularity in the MENA region (Middle East and North Africa). This broadcasting channel hosted a series of Korean dramas, paying for the Arabic subtitles starting in 2022, such as When I Was the Most Beautiful, Extraordinary You, Find Me in Your Memory, Love in Sadness, The Red Sleeve, and My Secret Terrius. The Arab audiences fit themselves and could relate to the Korean socio-cultural values as they seem appealing to them. So Korean dramas play the role of an equilibrium point where two, somehow, different cultures could create a new cultural space where these two cultures could meet. Fear that the learning rituals embedded in the show would lead Kuwaiti youth to abandon their traditions wholesale in order to adopt Western morality wholesale. However, this did not stop the Korean industries from exporting more Korean dramas to the Arab world in the following years.
Iran's state broadcaster, Islamic Republic of Iran Broadcasting (IRIB), aired several Korean dramas during prime time slots in recent years, with this decision attributed by some to their Confucian values of respect for others, which are "closely aligned to Islamic culture", while in contrast, Western productions often fail to satisfy the criteria set by Iran's Ministry of Culture and Islamic Guidance. In October 2012, the Tehran Times reported that IRIB representatives visited South Korea to visit filming locations in an effort to strengthen "cultural affinities" between the two countries and to seek avenues for further cooperation between KBS and IRIB. In 2008, the Korean drama Jumong achieved 85% viewership in Iran, According to Reuters, until recently audiences in Iran have had little choice in broadcast material and thus programs that are aired by IRIB often attain higher viewership ratings in Iran than in South Korea; for example, the most popular episodes of Jumong attracted over 90% of Iranian audience (compared to 40% in South Korea).
In the early 2000s, Korean dramas were aired for South Korean troops stationed in northern Iraq as part of coalition forces led by the United States during the Iraq War. With the end of the war and the subsequent withdrawal of South Korean military personnel from the country, efforts were made to expand availability of K-dramas to the ordinary citizens of Iraq. In 2012, the Korean drama Hur Jun reportedly attained a viewership of over 90% in the Kurdistan region of Iraq. Its lead actor Jun Kwang-ryul was invited by the federal government of Iraq to visit the city of Sulaymaniyah in Kurdistan, at the special request of the country's First Lady, Hero Ibrahim Ahmed.
Autumn in My Heart, one of the earliest Korean dramas brought over to the Middle East, was made available for viewing after five months of "persistent negotiations" between the South Korean embassy and an Egyptian state-run broadcasting company. Shortly after the series ended, the embassy reported that it had received over 400 phone calls and love letters from fans from all over the country. According to the secretary of the South Korean embassy in Cairo Lee Ki-seok, Korea's involvement in the Iraq War had significantly undermined its reputation among Egyptians, but the screening of Autumn in My Heart proved "extremely effective" in reversing negative attitudes.
Europe
France
South Korean president Park Geun-hye (center, in purple) at a Korean drama screening organized by French fans
In 2013, Bonjour Coree, a French fan club of Korean dramas arranged an event at the Espace Pierre Cardin performance hall near the famous Champs-Élysées street called the "Drama Party". Organized fully voluntarily, the even was attended by then president Park Geun-hye. "Culture can be the first step to understanding each other, and it has an amazing power to help the people of two countries come together, I hope South Korea and France will become even closer through culture" stated Park in the screening.
Romania
The first Korean drama in Romania was aired on TVR in August 2009 with Dae Jang Geum, and in the following month it became the third most popular television program in the country. Since then, Korean dramas have seen high ratings and further success.
Turkey
The first Korean drama broadcast on television in Turkey began airing on TRT 1 in late 2005. The first series was The Merchant (Tacir). It came to Meltem TV in mid-2009 and the first series was Dae Jang Geum (Saraydaki Mücevher). It began airing on Mesaj TV at the same time. However, as a result of the closure of Mesaj TV on 1 December 2021, they switched to Meltem TV to watch Korean dramas. Until 2013, Korean series had achieved ratings.
In April 2020, the Korean series The King's Daughter, Soo Baek-hyang (Kralın Kızı), which was broadcast on TRT 1 during the daytime, was removed from the air. In 2021, Korean dramas were broadcast on TRT 1 at midnight. In January 2022, the last known TRT foreign series, Queen Seondeok (Muhteşem Kraliçe) Korean series, was removed from the air on TRT 1. It was bid farewell 50 years after the broadcast of TRT's first foreign series in 1972. The last Turkish TV channel to broadcast Korean dramas, Meltem TV, was finally removed from the air in 2024.
North America
A booth of American video streaming website DramaFever at a Korean fan convention in Mexico. The website offered on-demand streaming video of K-dramas, among others, from 2009 to 2018.
The Asian American-targeted cable TV channels AZN Television and ImaginAsian aired Korean dramas alongside content from China, Japan, India, Thailand and other parts of Asia. The dramas were aimed at the Asian American community before the channels dissolved in 2008 and 2011 respectively. In November 2008, Netflix began offering several Korean dramas as part of its video selection. In August 2009, DramaFever began offering free subtitled video streaming service, with video advertisements, in the United States.
Singapore-based Viki streams popular Korean dramas across the world including North America, with subtitles in 70 languages. Companies in Asia have also designed streaming services available online and as mobile apps targeted towards overseas Asian communities. MobiTV created by the Sri Lankan company, Bhasha is a streaming service and mobile app aimed at the Sri Lankan community and streams Korean dramas dubbed in the Sinhalese language alongside other content aired in Sri Lanka. Roopa, created by the same company, is another service available as a mobile app also aimed at the Sri Lankan community, it too streams Korean dramas dubbed in the Sinhalese language. Chinese company PPTV is another example, a mobile app, PPTV网络电视HD streams Korean dramas aimed at the Chinese community alongside content that is primarily available in Mandarin, Cantonese and Korean but also increasingly in English. Additionally, Korean dramas are available at online DVD retailers. Some Korean dramas, however, are not available for region 1 (North America) encoding and NTSC video format. Amazon offers streaming of Winter Sonata for a fee.
KBFD-DT in Honolulu, Hawaii broadcasts a majority of Korean dramas on its daily schedule, as well as offering the programs on sale at its website and on demand through its K-Life channel on Oceanic Time Warner Cable. Another Honolulu outlet, KHII-TV devotes three hours of its Sunday afternoon schedule to Korean dramas. KTSF, a channel aimed at the Asian American community in San Francisco, California airs Korean dramas as part of its schedule alongside content in Mandarin, Tagalog, Hindi, Korean, Vietnamese, Japanese, Taiwanese and Cantonese.
South America
Between 2001 and 2002, South America began to absorb Korean programming. The 1997 series Star in My Heart began its successful broadcast in Chile, Peru and other countries in the area, but these last two were where More had repercussions, including an Ahn Jae-wook fan club founded. In 2002, Winter Sonata, produced by KBS 2TV, became the first series in the region to match the success of Meteor Garden, attracting a cult following in Asia. Marketing sales, including DVD sets and novels, exceeded $3.5 million in Japan. In 2004, then-Japanese Prime Minister Junichiro Koizumi noted that the series' male lead was "more popular than I am in Japan." Other Korean dramas released in later years such as Jewel in the Palace (2003) and Full House (2004) had comparable levels of success.
In Chile, which was one of the first countries on a global level, the phenomenon of Korean wave, which is also known as hallyu, began with the first drama aired that was the original 1997 MBC series Star in My Heart in 2001 by Chilevisión past midnight and later years later in 2003 it was retransmitted by Canal 21 (Chillán)[es] in Chillán, but it was not until 2006, when Stairway to Heaven was broadcast at 1:00 pm on the public television channel Televisión Nacional de Chile, which achieved notoriety of this genre being compared to La madrastra—an old very successful Chilean soap opera—due to the high audience figures in its schedule competing directly with other channels, it was also broadcast by TV Chile to other continents dubbed into Spanish.
Ratings and viewership
As of January 1, 2024, Viewership ratings are solely provided by Nielsen Korea. Originally, Nielsen Korea's predecessor, Media Service Korea (MSK), was the sole company providing TV viewership ratings using people meter since 1992, but was only limited to Seoul Capital Area. In 1998, TNS Media Korea began as a rival company in partnership with Taylor Nelson Sofres (TNS) which extended the service to five major cities; it was officially launched in June 1999 with a more sophisticated viewership rating survey technique. While, in August 1999, AC Nielsen acquired MSK and rebranded it as AC Nielsen Korea and expanded the audience rating survey to the whole country with the aim to increase the credibility of the ratings. In 2005, AC Nielsen Korea signed a merger with AGB Group and AGB Nielsen Media Research was established. AGB Nielsen Media Research merged with KADD Nielsen Media Research in January 2013, and the official name was changed to Nielsen Korea.
In 2010, TNS Media Korea was renamed to TNmS (Total National Multimedia Statistics). Since late 2018, TNmS stopped providing data to the public through their websites, and instead occasionally releases the ratings through news agencies such as BreakNews. TNmS eventually stopped its operations on January 1, 2024.
List of highest-rated series on terrestrial television
The following dramas air on a cable channel/pay TV which normally has a relatively smaller audience compared to free-to-air TV/public broadcasters (KBS, SBS, MBC and EBS).
↑As of 2010 it remained 38th in ranking,[citation needed] as of January 2013, it remained 41st in ranking,[citation needed] as of May 2015, it remained around 40th in ranking,[unreliable source?] as of June 2018, it remained 39th in ranking.[citation needed]
12The number of viewers was released by Nielsen Korea starting January 2018.
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↑Kim, Joon-suk (April 29, 2024). '눈물의 여왕' 시청률 24.9%...'사랑의 불시착' 넘어 tvN 드라마 시청률 1위['Queen of Tears' viewership rating of 24.9%...Surpassed 'Crash Landing on You' for tvN drama rank #1 viewership ratings] (in Korean). Sports Chosun. Archived from the original on April 29, 2024. Retrieved April 29, 2024– via Naver.
↑Kang, Nae-ri (November 22, 2022). '연모', 韓 드라마 최초 국제 에미상 수상...이미경 CJ 부회장 공로상(종합)['Yeonmo', the first Korean drama to win the International Emmy Award... Lee Mi-kyung CJ Vice Chairman Achievement Award (general)] (in Korean). YTN. Retrieved November 22, 2022– via Naver.
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↑Yeon, Hwi-seon (May 9, 2025). "지상파 청춘물 필패"...'바니와 오빠들'·'사계의 봄' 충격의 0% 시청률["Terrestrial youth dramas are a sure failure"...'Bunny and the Brothers' and 'Spring of the Four Seasons' shocking 0% viewership ratings] (in Korean). OSEN. Retrieved May 18, 2025– via MSN.
↑Lee, Su-hyeon (June 5, 2025). 이준영X정은지 '24시 헬스클럽', 최저 시청률 경신… 0%대 시청률 올해 6번째[Lee Jun-young X Jung Eun-ji's '24-hour Health Club', Renews Lowest Viewership Ratings... 0% Viewership Ratings for the 6th Time This Year]. Top Star News (in Korean). Retrieved June 8, 2025.
↑Hong Jae-hyun (October 5, 2008). "SBS'조강지처클럽', 자체최고시청률 41.3%로 종영" (in Korean). Sports Donga. Archived from the original on October 22, 2021. Retrieved October 22, 2021.
↑Park Se-yeon (February 14, 2009). '아내의 유혹' 37.4%, 40%대 돌파 후 숨고르기. Newsen (in Korean). Archived from the original on December 3, 2013. Retrieved October 11, 2012.
↑"Introduction to Sageuks". Sageuk: Korean Historical Dramas. October 16, 2015. Archived from the original on February 20, 2016. Retrieved March 1, 2016.
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↑No Han-sol (October 12, 2016). [스타포커스] 윤아, '연기돌' 벗고 '연기자'로... '이젠 믿고 보자 임윤아'[Im Yoon-ah shed her acting-idol title and become the real actress...believe in the Im Yoon-ah you see now]. TopStarNews (in Korean). Archived from the original on July 29, 2017. Retrieved January 10, 2021.
↑Kim Ji-hye (August 28, 2021). '홍천기' 장태유 감독, '바람의 화원'→'별그대' 잇는 연출 맛집..눈호강 예약[Director Jang Tae-yu of 'Hongcheongi', 'Painter of the Wind' → 'My Love from the Stars' Directed restaurant.. Reservation of Noonhogang]. Herald Pop (in Korean). Archived from the original on March 7, 2022. Retrieved March 7, 2022– via Naver.
12女 PD가 만드는 드라마 色 다르겠네[The colour of the drama made by the female directors must be different.]. Seoul Shinmun (in Korean). Retrieved March 9, 2024– via Naver News.
↑'미남' 꽃미남 그룹 에이엔젤, 공개 미니 콘서트 연다![A.N.JELL to hold a second mini-concert]. BNTNews (in Korean). November 21, 2009. Archived from the original on December 3, 2009. Retrieved November 29, 2009.
↑'미남' 마지막 콘서트, 3천명 구름관중[A.N.JELL holds its last concert]. OSEN (in Korean). November 23, 2009. Archived from the original on August 8, 2017. Retrieved November 29, 2009.
↑'미남이시네요' AN.Jell, 실제 가수로 활약?[You're Beautiful's AN.Jell to work as real singers?]. IS Plus (in Korean). October 25, 2009. Archived from the original on January 10, 2015. Retrieved November 29, 2009.
↑Sung, Do-hyun (April 14, 2025). 중국서 '폭싹 속았수다' 박보검·아이유 초상권 무단 사용 논란[Controversy over unauthorized use of Park Bo-gum and IU's photos in China]. Yonhap News Agency (in Korean (South Korea)). Archived from the original on April 14, 2025. Retrieved April 27, 2025.
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↑"K-Drama for Beginners". The Daily Star. December 24, 2015. Archived from the original on January 24, 2018. Retrieved October 21, 2018.
↑"The 'Asian Wave' hits Saudi Arabia". Saudi Gazette. Archived from the original on January 6, 2014. Retrieved April 21, 2013. Egypt and Iran has been the center of the "hallyu" phenomena in the Middle East for a few years now. While Egypt went crazy after the dramas "Autumn in my Heart" and "Winter Sonata," Iran went gaga when its state television aired "Emperor of the Sea" and "Jewel in the Palace".
↑Kim, Youna, ed. The Korean wave: Korean media go global. Routledge, 2013.
↑Onishi, Norimitsu (June 28, 2005). "Roll Over, Godzilla: Korea Rules". The New York Times. Archived from the original on November 12, 2020. Retrieved April 21, 2013. South Korea has also begun wielding the non-economic side of its new soft power. The official Korean Overseas Information Service last year gave "Winter Sonata" to Egyptian television, paying for the Arabic subtitles. The goal was to generate positive feelings in the Arab & Berber world toward the 3,200 South Korean soldiers stationed in northern Iraq.
↑"Book probes transnational identity of 'hallyu'". The Korea Times. July 29, 2011. Archived from the original on December 30, 2013. Retrieved April 22, 2013. Korean television dramas reinforce traditional values of Confucianism that Iranians find more closely aligned to Islamic culture, implying that cultural proximity contributes to the Islamic Korean wave. "Reflecting traditional family values, Korean culture is deemed 'a filter for Western values' in Iran," the article says.
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