This is the first in a series of posts in which I'm updating my
voluminous posts on the subject line last year and early this year.
In general, things I'm *not* doing in these updates:
1) Re-checking links.
2) Re-checking "Also at".
3) Much of anything with movies.
4) Etc. I've come up with entirely new sets of gruntwork to do, and
don't see the need to repeat any of the gruntwork I already did.
Thins I *am* doing:
1) Noting dropped shows at each relevant site.
2) Noting added shows at each relevant site.
3) Adding shows I missed the first time.
I'd hoped, by the time of these updates, to have watched some of the
dubiously speculative dramas, but it hasn't happened; work on Viki
(which I hope to post at the end of the series of updates, a week
from Friday, so September 6) has sucked too much time from me. So
I'm not dropping any shows, and although I'll probably have watched
many of the dubia by the time of the last post (which I hope will be
in early December, give or take a few weeks), I probably won't drop
the non-speculative ones then either - why bother, so late in the
game?
I meant to post one per day, but Labor Day already scotched that plan,
and also I'm doing far more work on the first sites covered than on
most of the later ones. So I'm doing two posts' updates today, and
will probably double up again in the future; Netflix should show up
tomorrow, but YouTube may well take until Thursday, which would force
more doubling up.
Nine months ago, I wrote in
news:XnsA9AA9730828C...@144.76.35.198:
> K-DRAMA BASICS
> I've watched two 1979 short speculative K-dramas now available at
> YouTube without subtitles. The rest of what I've watched dates 1988-
> 2017. 1) I understand 1987-1997 as a golden age of K-drama. I know
> of little speculative TV during this time, some of which I've watched,
> and discuss in the last post. 2) After the Asian financial crisis,
> drama makers always sought exports, and a new order began to emerge.
> Only a couple of dramas listed in these posts date to this time.
> With few exceptions, I haven't yet gotten to the speculative shows of
> this and later periods.
I interpret a number of phenomena I've observed in the time since I
posted this as companies getting ready for the 2020s by cleaning
house. Concretely, one thing this means is that dramas from before
2004 have almost vanished from the law-abiding world, not just the
English-subtitled part of it. ODK, KoCoWa, and as far as I know Viu
have never had any English-subtitled dramas older than 2003, so this
mainly applies to Viki and the law-abiding sites discussed in the
last post, as well as to whatever becomes of DramaFever's dramas.
(Other sites seem not to have been notified that they should abandon
elderly dramas on the nearest available ice floe, but few had many in
the first place.)
> 3) In 2004 K-dramas swept into Japan, and
> English- and other-language fandoms began, though nowhere as intense
> as in East Asia. This brought tons of money into the K-drama world
> (widescreen began in 2005), and led to what I see as a silver age.
> Most longer shows I've watched date to it. Speculation became
> steadily more common at this time, until eleven new speculative shows
> began in 2011.
The housecleaning is affecting dramas of this period through severe
winnowing, but not yet overwhelming oblivion.
> 4) Since 2012, I think another transition has been
> happening, a major sign of which is the speculative boom already
> mentioned; 26 new speculative K-dramas began in 2012, and in 2017, at
> least 49.
Some dramas of this period are still being lost to the law-abiding
world, as some recent dramas always have for various reasons. (I'm
not aware that any site has ever streamed the first drama I ever
watched.) But they are not, so far, seen as so out of date that they
must all vanish from view.
> A formula called "trendy" dominated overwhelmingly 2004-2012, and has
> been prominent in both transitions just mentioned (1997-2004 and 2012-
> present). It derives from, but has evolved independently from,
> Japanese "trendy" drama. Korean trendy is aimed at women, especially
> younger ones, and ideally shows a poor or at least ordinary woman
> transforming an upper-class jerk into a worthy partner. Few dramas
> check every trendy box, but few "silver age" ones check none.
I've recently been watching recent dramas preferentially, and my
*guess* is that trendy is still a major force, but fewer and fewer
dramas are simply and entirely trendy, and different parts of the
formula have worn better or worse.
I next wrote in
news:XnsA9AA991DC72ED...@144.76.35.198:
> BROADCAST
> In the
> 1970s, the broadcasters tried twice-weekly schedules. The one that
> stuck is two episodes on successive days; shows like this during
> prime time are called "flagship", and though speculative shows have
> happened in all sorts of schedules, the vast majority of the
> broadcast series in these posts premiered as flagships.
This is the first place in this set of posts that I referred to a
plan I've since discarded, which was to leave out a whole lot of
speculative dramas, essentially on the grounds that they aren't
legally available to English-speakers, even though that conflicts
with what the plan for the last post always was.
That said, in this particular case, even when I roll all the
broadcast dramas *not* legally available into the mix, still, easily
more than half the speculative ones premiered as flagships, probably
more than 70%.
> SBS and KBS have both had short drama omnibus series focusing
> on speculative material, but not recently; what's available subtitled
> and law-abidingly now is individual speculative dramas from general-
> purpose short-drama timeslots, mostly KBS's but with one MBC example.
So, for example, I'll cover those SBS and KBS series in the last post,
and since Viki has gone and dropped that MBC example, I'll still
cover it in the Viki post but to actually *watch* it you'll need the
last post's help, or equivalent information.
> CABLE
> I've watched too few really to judge (my current viewing therefore
> focuses on cable shows, so I can try to correct the following), but I
> *think* cable dramas seem edgier, trying harder to be cool; I also
> think an effect of this is that where network dramas have often
> focused on characters' workplaces, cable dramas seem to do that less.
Between the test dramas for the previous round of posts, and a few
since, I've now watched more than twice as many cable dramas as I had
when I wrote this, not that that's saying much. Edgier still holds -
I'm getting to where I'd confidently say cable dramas *normally* seek
edginess - but the workplace thing more or less depends on the drama,
which was also true of the silver age broadcast flagships that are my
standard of comparison here *anyway*.
> In general, South Korean cable companies try not to talk to the West.
Competitive pressures have put major dents in this attitude, as
this set of updates and especially the Viki post will show. So
> DramaFever, the site that died recently, was focusing on cable dramas.
> As a result, they've suddenly become far less accessible.
this is significantly less true now than it was when I wrote it.
> WEB
>
> Web K-dramas began in 2010 (with a speculative drama I list in the
> next post, sort of cheating).
Nope. MyDramaList lists a 2009 example. I've now watched it, and
it's very strange, but definitely a Web K-drama; it's at best meta-
speculative, but I figured it was close enough to list in the YouTube
update.
I've also found another 2010 "movie" that consists of episodes and
premiered on the Web. It isn't speculative at all.
I know of no Web K-dramas from 2011, although I haven't looked
very hard. This is the only excuse I can still make for the general
claim that Web K-dramas only began in 2012.
> From 2015 to 2017 numerous speculative
> Web dramas appeared; this is probably continuing,
Yes, but speculation is no longer anywhere near half the total.
> but no information
> source on them can be relied upon for completeness. (My lists may
> omit *thousands* of speculative Web dramas you could lawfully watch,
> subtitled at some site I've never heard of - unlikely, but possible.)
> I learn of Web dramas mainly when streamers pick them up, rather than
> from my usual information sources; this built-in delay explains how
> few 2018 Web dramas I list so far.
No longer an issue. I mentioned in the original YouTube post a list
of 209 dramas I'd then just found. MyDramaList has a built-in search
function that turns up 284, which actually isn't all the Web K-dramas
known to that site, and a user there has listed about 100. I'm
beginning to think that as of the start of 2019, very likely fewer
than 1000 Web K-dramas had been made, and quite possibly fewer than
500; it partly depends on what you count as a "drama". Many studios
now churn them out diligently - mahy of these post much of their
output to YouTube, so will come up in that update *too* - so I'd
hesitate to make either of those numerical claims for *end* 2019.
Anyway, I'm undoubtedly still behind, but I list several 2019 Web
K-dramas in these updates.
> Web dramas, with their short episodes and consistent use of idols,
> seem to me also primarily aimed at younger viewers than cable shows,
> which in turn are aimed younger than many broadcast dramas.
I've now watched *far* more Web K-dramas than I had when I wrote
this, and examined more still; between that and the cable drama
watching mentioned above, I'm *quite* certain this is correct.
In particular, an easy majority of Web K-dramas now being made are
short love stories meant to appeal to viewers between 10 and 30 years
old. The comments on these at YouTube are an excellent demonstration
of that site's most social-media-like aspects: in them, these young
viewers hash out proper responses to the moral issues, if any, raised
by the stories.
> Web dramas' makers vary plenty, but many eagerly talk to the West.
The majority of the studios mentioned above subtitle their dramas
in English, or at least invite viewers to do so.
I further wrote in
news:XnsA9AA9ABAA37F...@144.76.35.198:
[English-speaking countries]
> This isn't just me
> waxing geographical but the sorts of regions I've seen in studying
> streaming site Viki's public accounts of its K-drama licenses: the US
> and Canada (as well as Jamaica and Trinidad and Tobago) *always* go
> together in "the Americas", ditto Australia and New Zealand in
> "Oceania", and although "Europe" in Viki's licenses is never the same
> countries twice, I never noticed Ireland omitted.
I must not have been looking very hard. At Viki, Canada and the US
really do get extremely similar lists of shows, but Australia and
New Zealand differ some, and Ireland and the UK considerably.
> I wound up using a VPN with a fairly low data limit ... All my VPN
> work was done at speed, and I can't pretend to thoroughness,
> completeness, or even all that much accuracy in it.
I later posted some amendments to this once I'd found VPN programs
with higher data limits. This set of posts covers Netflix in all the
countries listed, and Viki in all but Trinidad and Tobago, but I
haven't, in these updates, tried to re-do all the work I then did on
the other sites I cover, most of which are pretty Americas-centric
(with the obvious exception of Viu, and also except, of course,
YouTube).
> A site which later posts cite for information on web dramas has an
> official list of sites which it presumes carry Asian dramas lawfully:
> <
https://mydramalist.com/discussions/general-asia-forum/31644-official-
> list-of-legal-streaming-websites> This list names three sites as
> having Korean dramas where I didn't find any (PopcornFlix, Toggle and
> V LIVE), though I may simply not have found the magic keys, but *for
> what it's worth*, the list also says this next site, also reputedly
> offering K-dramas, operates in Nigeria: <
https://www.iflix.com/>.
The previous round of posts ended up saying a lot about iflix and
other sites in Southeast and South Asia and in Africa. I more or
less exhausted what I thought I could do with those sites, and have
not revisited them for these updates, but will refer to them again in
the last post so will probably look at them again before doing so.
A significant chunk of the Web dramas listed at MyDramaList are said
to have premiered at VLive, so I must have missed something basic.
> FOR MORE
>
> I've written two *far* longer introductions to K-dramas. The first,
> begun in 2012, survives in a 2016 version; it treats trendy romances
> as normative. The second, written this year and at 2000 70-character
> lines about half as long, is broader in scope (and much less detailed
> about trendy romances). If you want either, let me know.
The one written in 2018 was lost when my backpack, containing the two
flash drives it was on, was stolen in February 2019. Since nobody
asked for either, I probably won't re-create it in that form.
> LATER IN THIS THREAD
>
> For each streaming site, I list the speculative K-dramas it offers
> under one of two business models usual in the specialised K-drama
> sites: 1) Free streaming, probably interrupted by ads. 2) Streaming
> available without limit to subscribers who pay monthly or otherwise
> scheduled dues, usually without ads. So I don't cover dramas one can
> buy or rent from the Western sites where *those* business models
> prevail, unless they're also free to subscribers (which is what gets
> Amazon into here). Western-focused sites which follow only the model
> #2 (especially Netflix) may try not to let non-subscribers learn what
> they carry (a bafflingly counter-productive marketing approach), so I
> use work-arounds which don't cover such sites outside the US.
I now cover Netflix rather more thoroughly, other such sites less
so.
I ended up saying a little about sites with other business models,
mainly in the next post, the one covering miscellaneous Western-
oriented sites. I expect to expand that significantly in the next
set of updates, because Apple TV comes up in many searches for K-
dramas, but so far, that site isn't admitting to any actual contents,
at least not anywhere I can think of to look. I assume once it
launches properly, that will change, so I may be able to cover it in
that set of posts.
> Most sites that stream K-dramas under one of these models also stream
> Korean movies under the same, and I decided it was worth saying
> something about these too,
I've done as little as I could accept on movies for these updates.
Finally, in
news:XnsA9AA9CF5AAB3D...@144.76.35.198 I
wrote:
> HISTORICAL: <Dae Jang Geum>, aka <The Jewel in the Palace>, MBC 2003-
> 2004 (54 episodes).
> <
https://www.viki.com/tv/614c-jewel-in-the-palace> - free US
Now dead.
> MELODRAMA: <Truth>, MBC 2000 (16 episodes).
> <
https://www.viki.com/tv/29487c-truth> - free US
Now dead.
> ACTION: <City Hunter>, SBS 2011 (20 episodes).
> All of DramaFever, Viki and KoCoWa had it in mid-2018 for the US; now
> DramaFever is gone and the other two deny it. I don't believe this
> situation can last (this is a tremendously popular drama), but
> meantime see the last post.
It has lasted. Are you beginning to see a pattern here?
> ROMANCE: <My Name Is Kim Sam-Soon>, MBC 2005 (16 episodes).
> <
https://www.ondemandkorea.com/my-name-is-kim-sam-soon-e01.html> - free US
> <
https://www.kocowa.com/series/my-lovely-sam-soon/688366> - free US
> <
https://www.viki.com/tv/1476c-my-name-is-kim-sam-soon> - free US
None of *these* are dead.
> Because, um, "straight" romances - without elements of other genres -
> are a plurality of the series I've watched, over 20 of the 55 1/2, I
> thought I should be able to point to more. #2 was obvious, but I
> don't think quite as well of it as everyone else does, so I wanted a
> #3, which torpedoed the plan. Titles and terminal elements from
> songs' YouTube URLs, for the #2 and the *four* dramas considered for
> #3:
> 2 <Coffee Prince> - ajA6yM7DKAA. 3a <Boys Over Flowers> -
> qqKB2Lzrlpo. 3b <That Fool> aka <The Accidental Couple> -
> sFmB6BGSNDc. 3c <Protect the Boss> - aC9gOYn3GyQ. 3d <Dream High>,
> *not* actually a "straight" romance - Krzx40YQHyo.
When I wrote that, all but <That Fool> were at Viki, and of those,
all but <Protect the Boss> were free to watch. Now <Coffee Prince>
and <Dream High> are also paywalled there, but not at OnDemandKorea,
which also carries <The Accidental Couple>.
So my point is that what determines the survival of silver age dramas
at this point seems to me to be how romantic they are, pure and
simple. This obviously doesn't bode well for most speculative shows.