[Current & Culture] The Common Thread Between "Glory" and "The Youngest Son of a Chaebol Family"

It is a strangely connected fate. Song Joong-ki and Song Hye-kyo, who were once married, have returned as drama protagonists one after another. As soon as Song Joong-ki’s drama The Youngest Son of a Chaebol Family achieved tremendous success and ended, Song Hye-kyo’s Glory was released. Only five days apart. It’s unlikely that the production company or Netflix was unaware of the connection between the two leads, but whether they intentionally overlapped their releases is unknown. Since this column is not about entertainment news, the discussion about the actors ends here.

The Youngest Son of a Chaebol Family maintained the modern fantasy genre characteristics of the original web novel in the drama as well. Setting aside the controversial ending, the premise that the protagonist goes back in time and is reincarnated, and the entire process of the protagonist acquiring wealth and power, are unrealistic. On the other hand, Glory is a realistic story without devices like reincarnation or superpowers. It tells the story of a victim of school violence who, as an adult, carries out harsh revenge on the perpetrators, which is completely different from the power struggles of a chaebol family depicted in The Youngest Son of a Chaebol Family. However, these two dramas, different in genre and content, share a very core theme: private retribution. This may be a somewhat unfamiliar term.

Private retribution refers to individuals or groups who have suffered harm from someone seeking revenge or restitution by their own means without involving public authority. It is strictly prohibited not only in Korea but also in other rule-of-law countries, and sometimes punished more severely than ordinary crimes. The protagonist of The Youngest Son of a Chaebol Family uses the ability to know future events to exact revenge, while the protagonist of Glory, who lacks such abilities, dedicates their entire life to revenge. Although their abilities differ, both deliver refreshingly satisfying revenge like a breath of fresh air.

Private retribution dramas have existed before, and this is not unique to Korea. The Hollywood superhero genre itself is a narrative of private retribution. Batman, Superman, Spider-Man, Iron Man?none belong to public authorities, so their fighting against villains is clearly private retribution. The reason the public is enthusiastic about such stories is simple: public authority is not functioning properly. If public authorities had strictly punished the chaebols’ ultra-legal and illegal behaviors, or if school violence had been properly punished and prevented, dramas like The Youngest Son of a Chaebol Family or Glory would not have been born.

The state, democracy, and capitalism are far from perfect systems; they are highly imperfect. They are chosen only because they are the lesser of evils or the best available options. Therefore, movies or dramas dealing with private retribution will inevitably continue to appear. Even so, the current situation where last year’s top hit and the drama following its popularity are revenge stories is somewhat unsettling. The Youngest Son of a Chaebol Family was loved as last year’s biggest hit, and Glory is already gaining explosive popularity despite only the first part being released. Prosecutors, police, courts, schools, and the institutions overseeing them... What do the public officials working there think when they watch these dramas? Do they just enjoy them as mere dramas? If so, I hope reading this column makes them reflect.

As someone involved in the cultural sector, I would like to express one wish for this year. I hope this year will be a dull year for movies or dramas dealing with private retribution. A society where private retribution is hardly necessary, a society where the embodiment of revenge does not resonate. Perhaps the creators of such content share the same wish.

Lee Jae-ik, Novelist

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