K-Entertainment Paradigm Shift: "If We Capture Sophisticated Han Viewers, It Will Also Work Globally"

The Era of K-Content
Production Teams Shift with Rising Interest in K-Variety Shows
Accelerating Original Productions

Photo by Netflix (hereinafter)

[Asia Economy Reporter Lee Isul] How is K-variety being consumed on over-the-top (OTT) video services? The industry anticipates this year to be a year of significant upheaval. Many leading directors in the broadcasting market unanimously agree that the strengths of Korean variety content, which has organically developed, are clear. As barriers to K-content lower in response to changes, production personnel are also on the move.

Netflix increased its investment in K-variety production this year. On the morning of the 12th at the Community House Masil in Myeongdong, Seoul, Manager Yoo Gihwan stated at the 'Korean Variety Meet and Greet,' "It is difficult to disclose exact figures, but we are investing much more this year than last year, and it will increase even more next year." He added, "We consider K-variety extremely important," and "We are at the beginning stage."

Two years ago, K-variety mainly generated revenue through overseas supply or format exports. The content market has rapidly changed since the pandemic. Even Korean viewers increasingly consume content through various platforms rather than TV. Last year, with K-content like 'Squid Game' hitting a so-called 'jackpot' overseas, interest naturally expanded to various content, and K-variety also gained attention.

Key production teams who have created variety shows for terrestrial and cable channels responded quickly. One by one, they packed up and started going independent. Director Jung Jong-yeon, who directed popular series variety shows such as 'Great Escape' and 'High School Mystery Club,' said, "We don't know when this open door of opportunity might suddenly close. There is a feeling that we should do it while we can." He also noted, "The recognition of K-content is increasing, and K-variety has a high possibility of gaining popularity overseas."

Park Jin-kyung CP, who directed variety shows like 'My Little Television' at MBC, moved to KakaoTV and succeeded with the 'Ants Are Busy Today' series. Park CP expressed confidence, saying, "Korean variety has the strength of being unique. It has organically created its own distinctive points and deeply explores all kinds of themes. Overseas viewers might find these aspects interesting." Additionally, Park CP is planning content that expands the 'Ttuntun' IP (intellectual property) and targets East Asian audiences.

Each OTT platform has rolled up its sleeves for original variety shows. They are also attempting various challenges such as unique collaborations and series development. MBC formed a TF team with Wavve to produce 'Game of Blood.' The result was successful. MBC, which secured overseas rights, signed format option contracts with the Bunny J Group for nine European countries: Germany, France, Italy, Finland, Norway, Denmark, Sweden, Belgium, and the Netherlands. Wavve's new subscriber acquisition share increased by about 16%, and viewing time more than doubled.

Netflix early on worked with PD Jo Hyo-jin, who directed 'Running Man,' and produced shows like 'Busted!' and 'From the New World.' In December last year, they partnered with PD Kim Tae-ho, who directed 'Infinite Challenge' and 'Hangout with Yoo,' to release the bike travelogue 'The Hungry and the Hairy.' Manager Yoo Gihwan emphasized the criteria for partner selection: "The direction must align and there must be synergy." He added, "Even if they are not producers who have made big works, if the direction matches, we can collaborate anytime. There are programs we proceeded with because of good communication and planning with famous PDs Jo and Kim."

He also opened the possibility for new production methods. Manager Yoo said, "Original variety shows can also be co-produced with broadcasters," and "We are considering various methods, such as releasing on Netflix simultaneously with broadcast."

He cited 'Korean viewers' as the success criterion for variety content. "People ask if Netflix only appeals to foreign audiences, but that is not true at all. Our standard is variety shows that Koreans like. The response from discerning Korean viewers is the top priority. Viewers have high standards and demands. If we meet these, it naturally resonates with global audiences as well."

"Viewers want edgy themes and immersive variety shows, so we want to schedule many such contents, but at the same time, many viewers want light content. Netflix's goal is not to focus on one direction but to arrange content appropriately and diversely."

This content was produced with the assistance of AI translation services.