From Ratings Flops to Global Hits: How Korean Dramas Are Winning Overseas Despite Domestic Decline
Once a primary metric for judging a drama’s success, TV ratings have taken a backseat in today’s era of global streaming. Just over a decade ago, achieving a 50% viewership rating was the pinnacle of success for Korean dramas. But with the rise of Over-The-Top (OTT) platforms like Netflix, U-Next, and Cocola Plus, viewers are no longer tied to broadcast schedules—and the metrics for success have evolved accordingly.
‘Barbi and Oppas’, starring Roh Jeong-eui and Lee Chae-min, is a recent example. The Munhwa Broadcasting Corporation (MBC) series premiered to dismal numbers, hitting a mere 1.3% nationwide viewing rate per Nielsen Korea for its first episode and plunging to 0.9% by the second. Despite these figures, the show—based on a popular webtoon with 170 million cumulative views—has ignited international buzz. It has topped charts in 19 countries, including Italy, Switzerland, and Spain, and grabbed the No. 2 spot on global K-content platform Cocola Plus, as well as on Japan’s U-Next.
Similarly, ‘Gamja Institute’, which ended its run on tvN on June 6, struggled domestically with ratings lingering around 1.1%–1.8%. However, it climbed to No. 7 on Netflix’s Global TV show rankings during its premiere week and reached the top 10 in 52 countries, including the United States—Netflix’s largest market. Even post-broadcast, it maintained traction across Southeast Asia.
Other dramas like ‘Ask the Stars’, starring top Hallyu stars Lee Min-ho and Gong Hyo-jin, have also seen similar patterns. Despite harsh criticism and lackluster reception in Korea, the series gained substantial attention abroad, attaining the No. 8 spot in Netflix’s Non-English Global TV category and entering the top 10 in 55 countries such as Canada, Australia, and India. U.S.-based outlet Decider praised its “stellar visual effects and charismatic leads,” showcasing just how international acclaim can counterbalance domestic apathy.
The trend isn’t new. Last year’s ‘Run On Seonjae’ generated overwhelming buzz and star-maker syndrome for Byeon Woo-seok, despite only achieving a 3–4% viewer rating. Its grand finale included group movie screenings and massive pop-up store turnouts. Similarly, 2020’s ‘True Beauty’—starring Moon Ga-young and Cha Eun-woo—captured the hearts of young global audiences, even with modest viewership at home.
As OTT platforms become the primary mode of consumption, it’s clear that traditional viewership figures alone no longer dictate a drama’s success. The global appetite for K-dramas remains insatiable—proving that the world is streaming, even if Korea isn’t tuning in.
