[Focus] Crisis of Terrestrial Dramas, the Challenge Left by 'Cheonwonjari Byeonhosa'

A scene from "The Thousand-Won Lawyer." Photo by SBS

[Asia Economy Reporter Lee Isul] Is this a crisis for terrestrial dramas, or a problem within SBS Drama Department? The SBS drama starring actor Namgoong Min, "Cheonwonjari Byeonhosa" (One-Thousand-Won Lawyer), is embroiled in controversy due to excessive PPL (product placement), frequent preemptions, and early termination, and will be preempted on the 11th. How should this be viewed? Some voices point to the complacency of terrestrial dramas that have failed to keep pace with the rapidly changing media environment.

SBS's Friday-Saturday drama "Cheonwonjari Byeonhosa" attracted attention with Namgoong Min, who won the Best Actor award twice for "Black Sun" and "Stove League," leading the story as the main character. The first episode started with an 8.1% viewership rating, rising to 12.9% by episode 3, and reaching a peak of 15% at episode 8, securing its place in weekend prime time.

Afterwards, it went downhill. Although there were issues with preemptions due to various circumstances, the dominant view is that it cannot be blamed solely on preemptions. Complaints arose that the numerous PPLs disrupted immersion. Various advertised products such as beef intestines, jjimdak (braised chicken), coffee, and health supplements appeared frequently. The way these were handled was unnatural and drew criticism. Characters blatantly mentioned products in their lines, which caused backlash. Excessive advertising undermines trust. As characters collapse, viewers are pulled out of the drama’s world. Subsequently, disappointed reactions and protests surged. To the extent that people joked that if stick cosmetics, squeeze-pack red ginseng, or chicken do not appear, it is not a terrestrial drama.

"Cheonwonjari Byeonhosa" was repeatedly preempted from episode 9 and was eventually scheduled for once a week. Ultimately, the drama, initially planned for 14 episodes, was shortened to 12 episodes and faced early termination. There were rumors of discord with the production company Studio S, but the drama side denied these, calling them "groundless."

Since the COVID-19 pandemic, online video streaming services (OTT platforms) have grown rapidly. K-content has soared on this wave. Gaining popularity overseas, it sparked the Korean Wave (Hallyu), and many domestic and international companies have eagerly rolled up their sleeves for production. An era of content abundance has arrived. In this atmosphere, concerns about terrestrial dramas pursuing only safe paths have gained traction. Similar genre works, unoriginal actors and production teams. Viewers are increasingly tired of repetitive "hero" genre dramas. The structure that repeats productions criticized as "same old story" is also pointed out as a problem.

Can terrestrial dramas survive in the rapidly changing media environment without painful reflection and challenges? If they only pursue safe paths and repeat self-destructive productions, there will be no progress. It is time for terrestrial broadcasters to seriously consider what lessons "Cheonwonjari Byeonhosa" has left behind.