Has Korean Content Officially Gone Mainstream in the US?
While it’s no secret that several breakthrough Korean properties have had enormous traction in the domestic market, have we reached a point where Korean content can be declared a ‘mainstream’ genre in the U.S? As more and more notice turns to the inventive storytelling and globally accessible themes we’re seeing from South Korea, Brandon Blake at Blake & Wang P.A looks deeper into the phenomenon.
Not a New Boom
While South Korean content rocketed to U.S prominence during the pandemic, as people started to explore a wider entertainment world, it’s important to realize it has long been popular throughout Asia and beyond. As early as 2000 we saw K-drama fever take hold throughout nearby neighbors. Nor is this expansion isolated to the U.S, either. Jewel in the Palace, a 2003 drama, became a truly global hit, even receiving remarkable traction in Iran and other Middle Eastern countries, where the typical lack of romance and sexual content makes Korean IPs an easier sell than traditional Hollywood content, while maintaining high storytelling quality. K-drama also has remarkable spread through Latin America, where it’s perceived to have a strong correlation with the local telenovelas in structure, drama, and content.
42% Growth
In the US, however, we saw a 42% growth in Korean originals between 2019 and 2020 on one content provider (VIKI) alone. And this was before the massive success of Parasite and Minari, followed hotly by Squid Games. In 2014, the Korea Creative Content Agency estimated 18 million Americans regularly enjoyed Korean content. It’s safe to say that number is now exponentially higher. Currently, Netflix dubs and subs Korean originals in over 30 languages, and plowed over $500 million into Korean content last year.
While there’s no question that Korean original content has come into its own through powerful storytelling that’s relevant both locally and resonates internationally, the key question to now ask is how this massive globalization will affect the industry going forward.
Yet Korean pop culture, in general, has proven very resilient in the face of globalization, adapting and shaping itself naturally to its growing user base, primarily through a willingness to actively embrace influence from other cultures. Where will this lead it in 2022? This entertainment attorney will be watching with interest.
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