Reasons why it is difficult to watch content on the Korean Netflix platform due to “decreasing preference for domestic content.”
Claims have been made that Netflix users in South Korea are watching fewer Korean dramas and movies, but the available data does not definitively show a consistent decline in preference for domestic content. In fact, Korean content continues to hold a significant share of the Netflix viewing market both in South Korea and internationally.
However, with viewing options expanding to include not only Netflix but also platforms like TVing, Wave, and Disney+, and with the volume of content increasing, it is clear that the performance of individual works and user behavior on each platform have become more complex than in the past.
Korean content maintains a significant presence on Netflix
Globally, the United States has the highest share of viewing time, followed by [Country Name]
According to data released by the Broadcasting and Communications Commission and the Institute of Information & Communications Policy in 2024, Korean content accounted for 11.4% of the total viewing time for Netflix TV series in the first half of 2024. This is the second-highest proportion, after the 54.5% share held by American content.
These figures do not necessarily indicate a weakening of global demand for Korean content. The United Kingdom recorded a 6.6% share, and Japan recorded 5.6%, showing a gap compared to Korean content. It is important to note that these statistics represent the proportion of total Netflix viewing time worldwide, broken down by the country of origin of the content, rather than the viewing share within South Korea.
In 2022, Korean works were included among the major box office hits
According to a report by Yonhap News, which cited a Netflix announcement, in 2022, 6 out of 10 Netflix subscribers worldwide watched at least one Korean production. At that time, dramas such as “Extraordinary Attorney Woo” and “Business Proposal” were among the Netflix non-English TV programs with the highest viewership.
Therefore, rather than interpreting the consistent decline in Korean content consumption since 2020 and 2021, it is more appropriate to consider that the varying box office performance of individual works and the intensifying competition between platforms have influenced perceived preferences.
The competitive landscape in the domestic OTT market has changed
It is difficult to determine overall preference based solely on Netflix metrics
The Institute of Information and Communications Policy Research analyzed the content usage patterns of major SVOD services in 2024, comparing Netflix, Disney+, Wave, TVing, and Watcha. The analysis included original content status, production country, genre, viewing time per service, and the distribution of popular content.
Domestic users do not consume content solely on one platform. For example, some users choose TVing or Wavve to watch Korean content. Therefore, it is difficult to assess the overall popularity of Korean video content based only on the proportion of Korean content within Netflix.
Expanded content supply increases perceived competition
As the expansion of global OTT services into South Korea continues, the variety of foreign content available to Korean users has significantly increased. Dramas and films produced in countries such as the United States, the United Kingdom, Japan, and Spain are being released simultaneously, meaning that Korean productions now face greater competition in terms of both the volume of content and the amount of viewing time.
During this process, the ranking of certain Korean works may decrease, but this does not necessarily indicate a general rejection or a decline in preference for domestic content. Factors specific to each work, such as the release date, genre, cast, marketing, and episode structure, also influence viewership performance.
Japan’s content policies focus on industrial competitiveness rather than “domestic consumption.”
New Cool Japan Strategy and Support for Overseas Expansion
The Japanese government is supporting its content industry by expanding its scope beyond animation and manga to include films, dramas, music, and games. The new “Cool Japan” strategy, announced in 2024, identifies key priorities such as creating a production environment where creators receive fair compensation, fostering practical producers, securing overseas distribution networks, and implementing strategic overseas expansion.
The Japanese Ministry of Economy, Trade and Industry views the expansion of the content industry into overseas markets as part of its national growth strategy. The goal is to increase the overseas sales of Japanese content to 20,000,000,000,000 yen by 2033. This approach aims to strengthen both the production infrastructure and the competitiveness of distribution, rather than simply increasing viewership within Japan.
Points for Korea to consider
It does not mean that the Korean content industry must simply follow Japanese policies. South Korea has already secured a strong overseas distribution network through global platforms like Netflix, and the value of domestically produced broadcast programs exported in 2022 exceeded 500 million US dollars.
The key task moving forward is to consistently discover and produce works that capture the interest of both domestic and international audiences. This requires not only an increase in production costs but also investment in writers and directors, diversification of genres, improvements in the distribution of revenue to creators, and the establishment of a streamlined distribution structure between domestic and global platforms.
The challenge for Korean content lies in sustainability, not just preference
Balancing global success with domestic industry development
Korean content continues to demonstrate strong competitiveness in the global market, but the industry faces challenges such as rising production costs, reduced investment, and instability in production schedules. Even if global platforms have high demand, the sustainability of the industry could be weakened if domestic production companies and creators do not receive stable returns.
Specifically, if the reliance on Netflix becomes excessive, there is a high possibility that changes in the platform’s programming strategies or investment scale will affect the domestic production ecosystem. To maintain the competitiveness of Korean content, a multi-layered distribution structure encompassing not only Netflix but also various domestic and international platforms, theaters, and broadcasting channels is necessary.
Strategies tailored to the new city hall experience are needed
The differentiation of Korean content does not end with simply increasing the use of Korean themes. It must also address the evolving viewing habits by focusing on genre quality, narrative freshness, diversity in region and generation, and the development of short-form and interactive content.
Ultimately, the central question now is not whether Korean Netflix users are ignoring Korean content. The more important task is how to create works that viewers, both domestic and international, will want to watch again, and how to connect the success of those works to the creative ecosystem.
Frequently Asked Questions (FAQ)
Did the preference for domestic content actually decrease on the South Korean Netflix platform?
It is difficult to definitively conclude that the preference for domestic content among Korean Netflix users has been consistently decreasing based solely on the available data. Korean content accounted for 11.4% of the total viewing time for global Netflix TV series in the first half of 2024, making it the second-highest proportion after the United States.
Is Korean content still popular on Netflix?
Yes, in 2022, Netflix announced that 6 out of 10 global Netflix subscribers watched at least one Korean production. Since then, Korean dramas, entertainment programs, and films have consistently been included in the list of globally popular content.
What are the reasons why people feel that Korean content consumption has decreased?
The expansion of viewing options is due to the increasing supply of overseas content and the competition among various OTT services such as TVING, Wave, and Disney+. It is important to distinguish between the weakening box office performance of specific Korean works and the overall decline in preference for Korean content.
How does Japan support its domestic dramas?
Japan is pursuing content industry policies that include improving production environments, fostering creators and producers, expanding overseas distribution networks, and promoting international co-productions. The focus of these policies is not only to expand domestic consumption but also to enhance the competitiveness of Japanese content in the international market.
What aspects of the Korean content industry need to be strengthened in the future?
To enhance the quality and diversity of作品 (works), it is necessary to improve the working conditions of creators, revenue distribution, the financial stability of production companies, and the diversification of platforms. A strategy is needed to secure both global box office success and the sustainability of the domestic production ecosystem.
