Gap between domestic, international receptions to K-content continues to widen

The storyline of the SBS television drama series “Dynamite Kiss” (2025) follows a familiar formula seen in romantic comedies since the early 2000s: A rich conglomerate heir falls in love with a financially struggling woman after they accidentally share a kiss.

“Dynamite Kiss” is just one of many recent Korean TV shows that drew lukewarm reactions from critics and viewers at home but are finding unexpected global success on streaming platforms, highlighting a widening gap between domestic and international receptions of K-content.

With a contractual relationship that evolves into love and heartfelt moments punctuated with scenes of physical intimacy, the plot of “Dynamite Kiss” adheres closely to the classic rom-com blueprint. As a result, the drama ended its run last December with modest viewership ratings in the 5 to 6 percent range, according to Nielsen Korea.

However, the series has earned a different reception abroad.

“’Dynamite Kiss’ may seem like a derivative rom-com at first glance, but the K-drama’s first episode quickly cemented its refreshingly modern identity,” wrote U.S. pop culture outlet Screen Rant in a review on Dec. 16, 2025.

The series gained popularity on Netflix each time a new episode dropped on Thursdays and Fridays. During the first week of December last year, “Dynamite Kiss” topped Netflix’s global non-English TV chart for two consecutive weeks. On Dec. 23rd, 2025, it ranked eighth globally in the same category, remaining in the top 10.

It was the only Korean drama to make the list and ranked two spots higher than the second season of the hit variety series “Culinary Class Wars” (2024–), which came in 10th.

“Even a classic Cinderella plot can feel fresh to international audiences,” said culture critic Gong Hee-jung. “The narrative is simple yet immersive, and its universal emotional appeal, combined with the [specific] strengths of K-romance [dramas], likely drew viewers in.”

Another SBS television drama series, “Taxi Driver” (2021–), is also drawing strong overseas attention with its third season. While domestic audiences have criticized its childish and contrived storytelling, leading to lower ratings compared to previous seasons, international viewers have responded in almost the exact opposite way.

While the first season surpassed a 10 percent viewership rating from its debut, the third season didn’t cross the 10 percent mark until the fourth episode.

Overseas, however, the show is maintaining a top three spot on U.S.-based streaming service Rakuten Viki, regardless of episode release dates. Every new episode also ranks first on Taiwan’s Friday and Thailand’s Viu platforms.

The third season of “Taxi Driver” is also the most watched nonoriginal series on Netflix and continues to generate consistent discussion on social media platforms such as TikTok and Reddit — suggesting a bigger global footprint compared to previous seasons, according to SBS.

Some entertainment programs are also generating high buzz despite modest ratings at home. “My Grumpy Secretary” (2025–) an SBS television variety show that presents an up-close look at celebrity daily life, has remained in the 2 to 3 percent viewership range during its original run but has ranked highly in Netflix’s entertainment chart.

Since its premiere in October 2025, the show has remained in the top 10 of Netflix Korea’s “Today’s Top Series” chart for three consecutive weeks. Episodes featuring stars such as Jang Ki-yong, Ahn Eun-jin, Doh Kyung-soo and Ji Chang-wook, as well as coed K-pop group Allday Project, have inspired a wave of fan-edited videos across platforms including YouTube and TikTok.

“These cases show that there are diverse ways in which Korean broadcast content can be consumed,” said Gong. “With the changing media landscape, we’re now in an era when viewership ratings and buzz coexist to shape the overall impact of content.”

BY HWANG JEE-YOUNG [lim.jeongwon@joongang.co.kr]