Lee Yoon-seo
As Korean TV goes cross-border, producers are chasing bigger audiences — at the risk of losing a clear sense of who they're made forK-dramas may no longer just be Korean. A growing slate of multinational co-productions is set to roll out this year, bringing together filmmakers, actors and broadcasters from multiple territories in an increasingly globalized approach to television production. While the strategy is designed to mitigate soaring production costs, expand market reach and pool regional creative strengths, experts note that the model introduces a fundamental structural paradox — the broader a show’s target audience becomes, the more difficult it is to satisfy any single market. "Human Vapor" poster (Netflix) One of the most recent test cases for this strategy is director Yeon Sang-ho’s tentpole Korean-Japanese collaboration "Human Vapor," which premiered globally on Netflix on July 2.The eight-episode series was co-written by Yeon — a foundational figure in Korea's dark fantasy landscape with acclaimed hits including "Hellbound" and "Train to Busan" — and his longtime collaborator Ryu Yong-jae and hands directing duties to Japanese filmmaker Katayama Shinzo. "Human Vapor," starring Uchida Uta (Netflix) To bring the supernatural narrative to life, the adaptation features an entirely Japanese cast led by A-list stars Aoi Yu and Shun Oguri alongside newcomer Uchida Uta, the grandson of the legendary Kirin Kiki, with the plotline following a reporter and a detective who are tracking a mysterious individual capable of transforming into gas. "Kidnap Game," starring Lee Joon-gi (Fuji Television) The trend toward cross-border collaboration is set to continue this fall with "Kidnap Game," another tentpole pan-Asian production.Co-produced by Korea’s SimStory, Japan’s Fuji Television Network and Hong Kong’s MakerVille, the mystery thriller unfolds across seven major Asian cities after a coordinated wave of simultaneous abductions throws the region into chaos. "Kidnap Game," starring Kentaro Sakaguchi (Fuji Television) The series relies on an expansive regional ensemble anchored by Korea's Lee Joon-gi and Japan's Kentaro Sakaguchi, alongside a diverse cast representing Taiwan, Hong Kong, Singapore, the Philippines and Thailand.On the distribution front, the project has locked in domestic broadcasts via Channel A in Korea and Fuji Television in Japan, alongside a regional streaming release as a Viu Original across Southeast Asia, the Middle East and South Africa. Ji Chang-wook (left) and Mio Imada participate in a media event in Hong Kong in 2025. (Disney+) Streaming giants are similarly leaning into the cross-cultural space. Disney+ is slated to release "Merry Berry Love" later this year, marking its first cross-cultural romantic comedy. Co-produced by Korean entertainment giant CJ ENM and Nippon TV, the series pairs Korean star Ji Chang-wook with Japanese actress Mio Imada. Developed by a Korean creative team that has revealed few details about the show so far, "Merry Berry Love" is slated to follow a struggling Korean designer and a Japanese farmer whose lives intersect during an agricultural project on a remote Japanese island.This current wave of collaboration builds on several years of escalating regional integration, including recent marquee titles like Netflix Japan’s romantic comedy "Romantic Anonymous" (2025), starring Han Hyo-joo and Oguri Shun, and Coupang Play’s melodrama "What Comes After Love" (2025), led by Lee Se-young and Kentaro Sakaguchi. But despite generating substantial industry buzz and featuring top-tier talent, few of these cross-border projects have emerged as genuine breakout commercial hits. "Romantic Anonymous," starring Shun Oguri (left) and Han Hyo-joo (Netflix) According to Lee Sung-min, an associate professor in the Department of Media Arts and Sciences at Korea National Open University, this surge in international co-productions is being propelled by a mix of fiscal pressure and geographic necessity."Co-producing dramas across countries can lower production costs," Lee said, pointing to the financial viability of overseas location work. "Many governments offer filming incentives because productions boost local tourism, making overseas shoots financially attractive."Just as crucial is the push to look beyond saturated home territories."Domestic markets are reaching their limits, so producers want to expand their reach through cross-border collaboration," Lee said. "Each market brings different strengths. Japan has a deep reservoir of intellectual property, Korea has great production capabilities, and pairing those with US financing creates opportunities to compete globally, particularly in North America."Yet, the same multinational framework that secures financing can also dilute a project's creative identity."One of the biggest challenges is defining the primary audience," Lee said. "Successful international projects need a clearly identified core market from the outset, but these cross-border projects may lack that."On top of that, creative alignment remains highly complex. Different production partners often have contrasting expectations around storytelling, pacing and creative direction, making it harder for a series to deliver a focused commercial impact. "What Comes After Love," starring Kentaro Sakaguchi (left) and Lee Se-young (Coupang Play) For Korean producers, these collaborations have naturally gravitated toward Japan due to current geopolitical and economic realities. China has been effectively closed off because of the lingering effects of its "han-han-ryeong" policy, a movement to ban the consumption of Korean culture, while Southeast Asia is still viewed as a less mature market.In contrast, Japan offers a stable business environment, established industry relationships and a market Korean companies understand well, making the country one of the most reliable partners for drama co-productions.Moving forward, whether these cross-border dramas transition from an experimental strategy into a mainstream industry model will depend on the shared experience gained from this current cycle of releases."The industry is still learning which models work best," Lee said. "As more projects are produced, companies will gain a better understanding of what resonates with audiences."
