iWorld
The dramatic rise of K-dramas
MUMBAI: Since March 2020, at least six Korean drama titles have featured on Netflix India’s Top 10 Trending list. According to a recent Netflix report, the viewing for K-dramas on Netflix in India "increased more than 370 per cent in 2020 over 2019.” So, for those of us unversed with the hype around K-dramas or even speculating whether “K-drama” is a namesake for yet another saas-bahu soap opera from Ekta Kapoor’s drama factory, maybe it’s time to dive into a bowl of ramen noodles and settle back to watch one.
With no fresh content on television for some months, thanks to the lockdown, and with a whole lot of extra time on their hands, many viewers traded the TV screen for their cell phone or tablet screens, looking for some relief from the barrage of Covid-related news. This upsurge in usage of on-demand OTT platforms during the pandemic led to an increased demand for variety content, language barrier notwithstanding. K-dramas with their feel-good storylines and safe-for-family-viewing content made for the perfect lockdown recipe when most of us were locked in with our extended families. Riding on this wave, K-dramas have had their biggest breakthrough moment in India during the ongoing pandemic, as more people found the time and inclination to explore different kinds of content.
While K-pop, as well as Korean dramas, have been a prominent part of pop culture among India’s GenZ and millennials for the last few years, it's only in the last one year that it's gone truly mainstream. Along with other cultural exports from the country like K-beauty (skincare products) and Korean food, they form a part of the Korean cultural wave, called ‘Hallyu’. So what is it that makes these dramas so binge-worthy and addictive?
Well, for starters, there is the detailing in the scriptwriting, with a focus on strong storylines having positive undertones. Although some of them can have pretty predictable outcomes, it is the conversational dialogues and natural treatment that makes all the difference. The characters are relatable, not larger-than-life with vulnerabilities one can empathise with. There is usually an underdog character one cannot help rooting for. Also, don’t get deceived by the damsel-in-distress looks of the lead women characters in the show, they may look frail but most of them are independent, fiery women who hold their own and do not hesitate to speak their mind or stand their ground when confronted. This understated emphasis on female empowerment goes a long way in making these soaps popular with their women audiences, while also making a statement for gender-equality in a positive, non-dramatic manner.
And of course, not to mention the swoon-worthy, porcelain-complexioned, picture-perfect looking actors clad in the trendiest outfits. Many of the actors from popular Korean fictional shows, including Crash Landing on You, It’s Okay to Not be Okay, Kingdom, Itaewon Class, Guardian: The Lonely and Great God etc like Son Ye-jin, Hyun Bin, Kim Soo-hyun, Seo Ye-ji, Jung Hae In, Park Joo-hyun to name a few, have become household names amongst Indian fans who swear by their Korean screen idols. The immersive plots range from adorable rom-coms to edge-of-the-seat suspense, from heart-warming, soul-satiating family dramas to intense psychological thrillers, covering a whole gamut of profound experiences- one that caters to every taste. The dramas also give us a peek into Korean culture, food and lifestyle. For instance, Crash landing On You, which deals with cross-border romance between a South Korean business tycoon and a North Korean soldier offered a heartwarming insight into the hitherto forbidden land of North Korea and the people living there.
Since Netflix first started showing Korean dramas in 2016, it has brought them to an international audience. Other OTT platforms too have caught on to this trend and many more like Disney+, HBO Max, and Apple+ are all expected to join the K-drama bandwagon. One only needs to glance at the number of Hindi dubbed versions of K-dramas on an Indian homegrown platform like MX Player to understand the size and scope of Korean content in India and its growing popularity. Hit Korean releases from 2016 like Melting Me Softly to What in the World Happened?, 1% of Something and many more have been dubbed in Hindi to cater to the increasing audience demand for Korean fare.
‘Hallyu’ or the Korean Wave is the term used to describe the spread of Korean entertainment and culture in other parts of the world. Die-hard fans of K-series pursue a range of experience, consuming Korean food like kimchi, fashion and music, even learning Korean to better understand their favourite shows; some even going to the extent of travelling to Korea for first-hand experiences of the culture and place.
The Oscar-winning 2019 Korean movie Parasite can also be credited for this new-found interest in Korean fare. It was the first film not in English to take home the top prize in the academy’s 92-year history. The film’s director Bong Joon-ho while accepting his Best Picture Oscar, spoke about “overcoming the one-inch-tall barrier of subtitles” in order to be introduced to more amazing content. It holds true now more than ever before, going by the resounding worldwide endorsement and success of Korean dramas. Indians sure have broken down the “one-inch barrier” and embraced K-dramas for times to come.
iWorld
Netflix cuts jobs in product division amid restructuring
Layoffs hit creative studio unit as leadership and strategy shifts unfold.
MUMBAI: The streaming wars may be fought on screen, but the latest plot twist is unfolding behind the scenes. Netflix has reportedly begun laying off several dozen employees from its product division as part of an internal reorganisation, according to a report by Variety. The cuts are believed to have primarily affected the company’s creative studio unit, which works on marketing assets such as in app trailers, promotional visuals and live experience content for the streaming platform.
The company has not disclosed the exact number of employees impacted.
According to the report, the layoffs were not tied to employee performance. Instead, the restructuring eliminated certain roles while other employees were reassigned to different teams within the organisation.
The roles affected are understood to include designers, producers and creative specialists responsible for marketing and brand experience initiatives.
The job cuts come as Netflix adjusts its leadership structure and reshapes its product and creative teams. Last month, Elizabeth Stone was promoted from chief technology officer to chief product and technology officer, giving her oversight of product, engineering and data operations across the company.
Earlier, in December 2025, Netflix also appointed Martin Rose as head of creative for global brand and partnerships, a move seen as part of a broader restructuring of the company’s brand and product functions.
Despite the layoffs, Netflix remains one of the largest employers in the streaming sector. The company is estimated to employ around 16,000 people globally, with roughly 70 percent of its workforce based in the United States and Canada. In 2023, the company reported approximately 13,000 employees, indicating that its headcount had grown significantly before the latest restructuring.
The workforce changes arrive at a time when Netflix is navigating a shifting financial and strategic landscape in the global entertainment industry.
The streaming giant recently secured $2.8 billion in additional cash after receiving a breakup fee from Paramount Skydance following its withdrawal from a deal involving Warner Bros. Discovery.
Speaking to Bloomberg, Netflix co chief executive Ted Sarandos explained that the company had evaluated multiple scenarios during the negotiations but chose not to match the competing offer once it learned that a higher bid had been submitted.
Netflix had capped its offer at $27.75 per share and ultimately stepped back rather than pursue Paramount’s $111 billion acquisition deal, which included a personal guarantee.
Sarandos also cautioned that the financing structure behind the Paramount Skydance transaction could have ripple effects across the entertainment industry.
According to him, the debt heavy deal could trigger significant cost cutting, with David Ellison, chief executive of Paramount Skydance, expected to eliminate about $16 billion in costs and potentially cut thousands of jobs as part of the integration process.
For Netflix, the current restructuring appears to be part of a broader attempt to streamline operations while continuing to invest in product, technology and global content even as the streaming industry enters a new phase of consolidation and financial discipline.
