Korean drama

History

Beginnings and early years

Radio broadcasting, including the broadcasting of radio dramas in Korea, began in 1927 under Japanese rule, with most programming in Japanese and around 30% in Korean. After the Korean War, radio dramas such as Cheongsilhongsil (1954) reflected the country's mood.

Television broadcasting began in 1956 with the launch of an experimental station, HLKZ-TV, which was shut down a few years later due to a fire. The first national television channel was the Korean Broadcasting System (KBS), which started up in 1961. The first Korean television film was a 15-minute piece titled The Gate of Heaven (천국의 문, Cheongugui mun), on HLKZ-TV.

With the opening of KBS-TV at the end of December 1961, television dramas began to gain momentum. In the early 60s, single-act dramas such as "Friday Theater" and "Continuous Historical Drama" were aired, and daily soap operas were the main ones entering the late 60s.

The first television series was aired by KBS in 1962. Their commercial competitor, Tongyang Broadcasting (TBC), had a more aggressive program policy and aired controversial dramas as well. The first historical TV series aired was Gukto manri (), directed by Kim Jae-hyeong (), depicting the Goryeo era. In the 1960s, television sets were of limited availability, thus dramas could not reach a larger audience.

The most popular drama in the 1960s was Sajikgol Old West Room, which aired in 1967, and the first daily soap opera was Snowfall by Dongyang TV in 1968. Meanwhile, The Frog Husband, which aired on MBC in 1969, caused a social stir for the first time in the nation's drama history, based on an affair.

In the 1970s, television sets started to spread among the general population, and dramas switched from portraying dramatic historical figures to introducing national heroes like Yi Sun-sin or Sejong the Great. Contemporary series dealt with personal sufferings, such as Kim Soo-hyun's influential Stepmother (새엄마, Saeeomma), aired by MBC in 1972 and 1973. As technology and funding were limited, Korean channels could not make series in resource-heavy genres like action and science fiction; American and other foreign series were imported instead.

1980s–2000s

The 1980s saw a change in Korean television, as color TV became available. Modern dramas tried to evoke nostalgia from urban dwellers by depicting rural life. Kim Soo-hyun's first real commercial success, Love and Ambition (사랑과 야망, Saranggwa yamang), aired on MBC in 1987 and is regarded as a milestone of Korean television, having recorded a 78% viewership. "Streets became quiet at around the airing time of the drama as 'practically everyone in the country' was at home in front of the TV", according to The Korea Times.

The 1990s brought another important milestone for Korean television. As technology developed, new opportunities arose, and the beginning of the decade marked the launch of a new commercial channel: Seoul Broadcasting System (SBS), which facilitated and re-initiated a race for catching viewers' attention. The first real commercial success among Korean television series was Eyes of Dawn (여명의 눈동자, Yeomyeongui nundongja), aired in 1991 by MBC, starring Chae Shi-ra and Choi Jae-sung. The series led the viewers through turbulent times from the Japanese rule to the Korean War. The 1992 MBC miniseries Jealousy starring Choi Jin-sil and Choi Soo-jong is considered the first "trendy drama", marking a breakthrough in filming techniques and the beginning of the romantic comedy genre in Korean dramas. The series depicted the lifestyles of young people of the era and is one of the first dramas to air in China, along with Eyes of Dawn. New channel SBS also produced successful series, one of them being Sandglass in 1995. Sandglass was another trendy drama, which the Korean Culture and Information Service considers an important milestone, having changed the way Korean dramas are made by introducing a new format. In this decade, the new miniseries format became widespread, with 12 to 24 episodes. The term Hallyu (Korean*: 한류*) which comes from Mandarin 韓流, (Pinyin: hán liú) was coined in the late 1990s after the success of Star in My Heart in China, and its popularity elevated the main cast to Hallyu stardom. This era marked the start of export for Korean dramas, setting off the Korean Wave.

The beginning years of the 2000s gave birth to famous Korean dramas and also marked the period of overseas distribution. Some popular ones are Full House, Autumn in My Heart and Winter Sonata. It marks the birth of a new genre, called "fusion sageuk", essentially changing the ways to produce historical series, with successful pieces such as Hur Jun, Damo and Dae Jang Geum. It started to take over the popularity of conventional dramas among 10s and 20s because the shorter runtime, and often feature trendy content which teenagers find it easy to sympathize with.

2010s–present

In 2015, the third installment of the Reply anthology series, Reply 1988, aired on TvN and became the highest rated drama in Korean cable television history at the time of airing. The K-drama "wasn't just popular — it was a cultural phenomenon, widely hailed as a 'National Drama'" according to The Korea Times. The BBC has described it as a "television masterpiece" and credited the series for ushering in "South Korea's cable era" and laying "the groundwork for a swell of more realist and nostalgic Korean dramas" which subsequently gained international success.[[File:Cosplay_of_Squid_Game_Guards_at_Sutera_Cosplay_Fest_2021.jpg|thumb|upright|[[Cosplay|Cosplayers]] of the [[Netflix]] K-drama [[Squid Game]] in Malaysia]]Several production companies began to produce dramas even before the first season like The Penthouse: War in Life (2020–2021) which aired over three seasons. The introduction of the "season system" is interpreted as changes in the industry due to the 52-hour workweek, viewers' rejection of feature-length dramas, and oversupply of dramas.

The late 2010s and 2020s saw newfound attention of K-dramas from international markets. Netflix had begun seeking productions from South Korea and other countries since around 2018 to expand offerings for their service with a growing international audience. These efforts came to fruition when Hwang Dong-hyuk's Squid Game starring Lee Jung-jae, drew in more than 111 million viewers within 17 days of its release in September 2021, becoming the service's most-watched program. For his performance, Lee ton he Primetime Emmy Award for Outstanding Lead Actor in a Drama Series in 2022, making him the first person to win that award for a non-English-speaking role, and the first Asian man to win that award.

In the mid-2020s, dramas aired on terrestrial and cable networks have experienced a significant decrease in viewership. This trend was attributed to changes in viewing habits and the rise in popularity of over-the-top media service (OTT) domestically. In 2025, when the Netflix original series When Live Give You Tangerines starring IU and Park Bo-gum aired, it garnered cross-generational popularity signaling that OTT consumers have now appealed to all age groups including middle-aged and older viewers. Media outlets have dubbed When Live Give You Tangerines a "National Drama", a sobriquet reserved for productions via over-the-air, cable, and satellite television. In addition, the series' star, Park Bo-gum, was also named 2025's Television Actor of the Year by Gallup Korea, the first actor in the poll's history to gain the title for an OTT release.

Format

A single director usually leads Korean dramas, which are often written by a single screenwriter. This often leads to each drama having distinct directing and dialogue styles. This differs from American television series, which can rely on multiple directors and writers working together.

The 19:00 to 21:00 evening time slots have usually been reserved for daily dramas, which run every night from Monday through Friday. Dramas in these slots are in the telenovela format, rarely running over 150 episodes. Unlike American soap operas, these daily dramas are not broadcast during the daytime. Instead, the daytime schedule often includes reruns of the flagship dramas. The nighttime dailies can achieve very high ratings. During the late 2000s, for example, the weekend series First Wives' Club recorded 41.3%, according to TNS Korea, and the evening series Temptation of Wife peaked at 40.6%, according to TNS Korea.

Plots and storylines

K-dramas have a multitude of different genres such as action dramas, historical dramas, school dramas, medical dramas, legal dramas, and even horror comedies. While most dramas contain romantic elements and deep emotional themes, some may also contain a tragedy or slice of life theme. There are various styles and tones.

The main themes of Korean television dramas are friendship, family values, and love, blending traditional Confucian and with Western materialism and individualism.

However, it is an emerging trend amongst Korean dramas to showcase ongoing societal issues of Korean society, such as stigma of mental illness, gender inequality, suicide, classism, bullying, spy cameras, corruption, homophobia, or racism.

Historical

Main article: Sageuk

The term sageuk refers to any Korean television or film drama that is either based on historical figures, incorporates historical events, or uses a historical backdrop. While sageuk directly translates to "historical drama", the term is typically reserved for dramas taking place throughout the course of Korean history.

Since the mid-2000s, some sageuk dramas have achieved major success outside of Korea, in places such as the Asia-Pacific, Central Asia, Greater Middle East, Central and Eastern Europe and Latin America. Sageuks including Dae Jang Geum (Jewel in the Palace), Yi San (Lee San, Wind of the palace) and Jumong enjoyed strong ratings in countries such as Vietnam, Uzbekistan, Kazakhstan, Fiji and Iran. Jumong, which aired on IRIB (Islamic Republic of Iran Broadcasting) in 2008, had 85% viewership.

Romance

Often centered on a love story, series set in contemporary times often focus on family ties and romantic relationships. Characters are mostly idealized with Korean male protagonists described as handsome, intelligent, rich, and in search of "one true love". This has also been a contributing factor to the popularity of Korean dramas among women.

Production

Korean series were originally produced in-house by the television channels themselves, but have been outsourced to independent companies since the 2000s. In 2012, as much as 75% of all K-dramas were produced this way. Competition is fierce among these companies; out of 156 registered firms, only 34 produced dramas that were actually aired in 2012.

In the late 2010s, a typical Korean drama might cost as much as ₩700 million per episode. Historical dramas have a bigger budget; one episode of the historical romance The Red Sleeve cost as much as ₩950 million. Recently, factors such as improving the work environment, along with whether to sign contracts with domestic and foreign OTT companies such as Netflix, have served as variables. For example, Kingdom had a budget of ₩2 billion per episode, while ₩3 billion was spent on each episode of Sweet Home.

Often, production companies overrun their budgets and cannot pay salaries. In 2012, actors held a demonstration in front of the headquarters of KBS, expressing their concerns. Actors are usually paid after the last episode is aired. In series made by smaller production companies, there have been cases where the companies went bankrupt and could not pay their actors and crew, while the channel denied all responsibility, claiming all liability was with the bankrupt production firm. Producer Kim Jong-hak spent ₩10 billion on Faith, which was considered a commercial failure, resulting in the inability of Kim to pay crew salaries and other overheads. Kim, who had produced iconic dramas such as Eyes of Dawn and Sandglass, committed suicide after he was accused of embezzlement.

The biggest stars may earn more than ₩200 million per episode, with Kim Soo-hyun, the lead of hit dramas Moon Embracing the Sun (2012), My Love from the Star (2013) and It's Okay to Not Be Okay (2020) reportedly receiving ₩500 million per episode for One Ordinary Day in 2021.

Filmmaking process

As producing a series involves high expenses, production companies seek to shoot the episodes in the shortest time possible. In contrast to practices elsewhere, the first four episodes of Korean series are usually shot in advance, but the rest are shot continuously as the series is being aired. Scripts are not finished in advance, and may change according to viewer feedback and viewership ratings, with popular characters receiving increased screen time and plotlines changing to match audience expectations. These changes may occur a few hours before daily shooting, and the crew might receive only a few ready pages. The production usually works with three camera crews, who work in a rotating manner to speed up filming. Because of unregulated script changes and tight shooting schedules, actors are almost continuously on standby, and have no time to leave the set or sleep properly. The Korean media have a separate word to describe the irregular naps that actors resort to, in often uncomfortable positions or within the set: jjok-jam (), or "side-sleeping". Dramas usually air on two days every week, with following episodes having to be shot during the intervening five days. Some Korean actors have admitted to receiving IV therapy during filming, due to extreme schedules and exhaustion. Nonetheless, the live-shoot model remains widely used since the production team can react to audience feedback in real time.

Production teams originally sent two tapes to the channels, a primary copy and a backup copy. However, due to the tight filming schedules, a 70-minute episode might arrive at the broadcasting station on seven separate tapes in ten-minute installments. Thus, while the episode is being broadcast, the crew would be still shooting the last minutes or cutting the rest of the episode. During the airing of the nineteenth episode of Man from the Equator, screens countrywide went black for 10 minutes. Actor Kwon Sang-woo openly complained that he was still shooting King of Ambition 30 minutes before the last episode began airing. In South Korea, some production teams still do planning and scheduling manually instead of using dedicated software.

In 2016, dramas such as Descendants of the Sun, Uncontrollably Fond, Moon Lovers: Scarlet Heart Ryeo and Hwarang: The Poet Warrior Youth were all pre-produced before airing. Nonetheless, some pre-produced episodes are often re-edited or even reshot the day of airing, due to audience feedback. The larger broadcasting companies have their own dedicated shooting locations for historical dramas, with extensive and elaborate sets. MBC's series are shot at the Yongin Daejanggeum Park in Gyeonggi Province, while KBS dramas utilize the Mungyeongsaejae Studio (문경새재 KBS촬영장) in North Gyeongsang Province and their studio in Suwon. In April 2023, it was announced Netflix would invest $2.5 billion in K-dramas.

Personnel

Actors and actresses

The popularity of Korean dramas contributed greatly to hallyu or the Korean wave starting in the early 2000s. This influence made its respective leading men and leading ladies stars in Asia and beyond. This includes actress Song Hye-kyo, and actors Lee Min-ho, and Park Bo-gum,*

• among others. The Korean drama Encounter in 2018, starring the pairing of Song Hye-kyo and Park Bo-gum, became one of the highest-rated Korean dramas in cable television history, was sold to over 100 territories globally, and was remade in the Philippines by Viva Entertainment. The celebrity status of Korean drama stars also made them ambassadors for international luxury brands as well as South Korean culture and tourism. Park Bo-gum was appointed by the country's Ministry of Culture, Sports and Tourism as an honorary ambassador for South Korean tourism in 2025 with a series of campaigns centering on bridging his K-drama fame with actual tourism promotion.

In the 2000s, it became customary to cast popular K-pop idols in dramas. Initially, this generated mixed reactions. Their appearance had provoked predominantly negative reactions outside their fandom because some idols' acting was not viewed as professional. Also, some idols were criticized for poor acting. Nowadays, this has become much more common feature in Korean dramas, as the public has been getting more used to the concept of "idol actors" and some idols have become known for their excellent acting skills. Their critical reception is still mixed, however, some of them, like Bae Suzy, IU, Yim Si-wan, Park Jin-young, Doh Kyung-soo and Im Yoon-ah, became successful as actors and actresses.

There were also instances of children taking up careers as child actors or actresses, usually portraying either the younger versions of some characters or the children of the adult characters from dramas. Subsequently, there were some child actors and actresses who continue pursuing acting careers even after reaching adulthood, and with some achieving success even after adulthood. Notably, such people include actors like Yoo Seung-ho and Yeo Jin-goo; and actresses like Kim So-hyun, Moon Geun-young, Park Shin-hye, Kim Sae-ron and Kim You-jung.

Scriptwriters and directors

Scriptwriters and directors of Korean dramas are often as well known as actors are. An overwhelming majority of scriptwriters (90% according to the Beijing Metro Reader) are women, who not only write love stories but action series as well. Compared to Korean cinema, television is more appealing for scriptwriters as contract conditions are better, acknowledgment is greater, and the salary is higher.

Famous scriptwriters tend to have a say in their field. The most well-known scriptwriters include the Hong sisters, Kim Soon-ok, Kim Eun-sook, Lee Kyung-hee, Choi Wan-kyu, Noh Hee-kyung, and Park Ji-eun. In particular, writer Kim Soon-ok is famous for captivating male viewers who did not watch dramas well. In 2021, an article called "Kim Soon-ok, Kim Eun-sook, and Kim Eun-hee" was also published, referring to star writers.

Acknowledged TV directors include Lee Byung-hoon, Kim Jong-hak, , and Jang Tae-yoo. In recent years, director Jo Hyun-tak was also propelled to fame through his works Sky Castle, which became one of the highest rated dramas in Korean cable television history, and Snowdrop, which, despite its alleged historical distortions, was ranked first among the most-watched series on Disney+ in Asian countries like Singapore and South Korea.

While scriptwriters are mostly women, directors are usually men. Some female directors have risen to prominence, such as Lee Na-jeong, and Lee Yun-jeong. The latter director is also the first female television producer employed by Munhwa Broadcasting Corporation (MBC).

Music

Music plays an important role in Korean dramas. Original soundtracks, abbreviated OST's, are explicitly made for each series, and in contrast to American series, fans have a need to buy the soundtrack album of dramas. This trend started in the 1990s, when producers swapped purely instrumental soundtracks for songs performed by popular K-pop singers. Tom Larsen, director of YA Entertainment, a distributor of Korean TV series, thinks that Korean soundtracks are polished enough musically to be considered standalone hits.[[File:Baek Ji-yeong from acrofan.jpg|thumb|Singer [[Baek Ji-young]] has been named "[[Soundtrack|OST]] Queen" after providing the songs for several hit dramas such as [[Secret Garden (South Korean TV series)|Secret Garden]] (2010) and [[Love in the Moonlight]] (2016).|210x210px]]During the 2000s, it became customary for lead actors to participate in original soundtracks, also partially due to the employment of K-pop stars as actors. Actor Lee Min-ho, and leader of boy band SS501, Kim Hyun-joong both recorded songs for Boys Over Flowers, while the actors of You're Beautiful formed a fictional band and held concerts, where they perform the soundtracks live.

OST songs of popular K-dramas can also become hits on regular music charts, with good sales of both physical and digital albums. The chart performance of the OST songs usually co-relate to the popularity of the drama. Songs from the OST of Secret Garden for example, had high digital sales and high rankings on music charts. My Destiny, performed by Lyn for My Love from the Star, led music charts in Hong Kong, Taiwan, South Korea, and other Asian countries. It also won the Best OST award at the 2014 Baeksang Arts Awards. The soundtrack album of You're Beautiful sold 57,000 physical copies. Performers of OST songs for action series Iris held two concerts in Japan in front of an audience of 60,000 people.

Although the songs in Korean dramas may be a few or repetitive, their choosing process is not considered easy since they are made to convey emotions or scenes. Rocoberry, who composed the soundtrack for Guardian: The Lonely and Great God, created 12 different compositions before I Will Go to You Like the First Snow was chosen, and rewrote it seven times before it got the approval of the production team.

OST composers usually look for singers who have previously had success in the genre. Songs are written to reflect the mood of the series and their structure. Sometimes performers give their own songs for a series. For example, Baek Ji-young thought her song That Man, originally written for her own album, would fit Secret Garden. There are popular OST singers who are often employed, like Baek Ji-young, Lyn, and Lee Seung-cheol. Sometimes, foreign singers are invited to perform songs for Korean OST. For instance, Swedish artist Lasse Lindh sang several songs for series like Angel Eyes, Soul Mate, I Need Romance, and Guardian: The Lonely and Great God.

Rating system

The television rating system is regulated by the Korea Communications Commission, and was implemented in 2000. According to the system, programs, including Korean dramas, are rated according to the following principles (ratings irrelevant to dramas are omitted):

• [[File:Republic Of Korea Broadcasting-TV Rating System(12).svg|30px|Republic_Of_Korea_Broadcasting-TV_Rating_System(12).svg]]: programs that may be inappropriate for children under 12, such as mild violence, suggestive themes or language.
• [[File:Republic Of Korea Broadcasting-TV Rating System(15).svg|30px|Republic_Of_Korea_Broadcasting-TV_Rating_System(15).svg]]: programs that may be inappropriate for children under 15. Most dramas and talk shows are rated this way. These programs may include moderate or strong adult themes, language, sexual inference, and violence.
• [[File:Republic Of Korea Broadcasting-TV Rating System(19).svg|30px|Republic_Of_Korea_Broadcasting-TV_Rating_System(19).svg]]: programs intended for adults only. These programs might include adult themes, sexual situations, frequent use of strong language and disturbing scenes of violence.

Reception

There is a tacit knowledge regarding the production of television series in South Korea that uniquely appeals to consumers. K-dramas have a substantial female presence that makes up their following and representation. The female fandom is specifically targeted, and tacit knowledge is applied most effectively in this area. The Korean actors show a wide range of emotions, and many ad-lib without prompting, even producing genuine tears without assistance.

The acting of women in K-dramas appeals to women universally, showing the struggles that pertain only to women. Women in these television series often assume typically male-dominated professions, and they appeal to all women who want to bring down the image of traditional values and male-dominated communities. K-dramas are successful when women can break free of traditional roles and embrace freedom. The men in K-dramas have begun to present a more fluid nature of representation, which challenges the gender roles typically expected of men. Rather than focusing on being "macho" or "manly," men adopt more feminine and androgynous looks in order to cater to female fans. There is a great focus on the beauty techniques used, ranging from makeup all the way to cosmetic surgeries. The androgyny in K-drama, as well as K-pop, is a common phenomenon and draws the attention of women through global targeting.[[File:Goong Teddy Bears.JPG|thumb|left|[[Princess Hours]] [[teddy bear]] exhibition at [[N Seoul Tower]], 2012]] According to a researcher at the University of Vienna, the popularity of Korean dramas has its foundation in Confucian values they transmit, which Asian viewers can easily identify with. Respect for elders, filial piety, family-orientedness, and the display of perceived "Asian moral values" play an important role in the Korean series. YA Entertainment, the American distributor of Korean dramas, believes that part of the attractiveness of these series come from the quality of camera work, scenic locations, and spectacular costumes, which make the "final product very stylish and attractive, with arguably some of the highest TV production values in the world." Korean series follow their own formula, are innovative and don't conform to Western television productions. Stephan Lee from Entertainment Weekly called Korean dramas "fascinating and weirdly comforting".

Exports of Korean series yielded 37.5 million in 2003, which was three times higher than the amount reached in 1999. According to data from Korea Creative Content Agency, in 2013, K-dramas constituted 82% of the culture content export of South Korea, with an income of $167 million, which is four times more than a decade before.

A driving force behind the rising popularity is the intense involvement of fans. Because of the live-shooting production of K-dramas, Korean-speaking fans have the opportunity to participate in their creation—a unique phenomenon in the mass media world. They can influence the content of later shows in the series through complaints and suggestions, which are frequently adopted by the production teams.

The global community of non-Korean-speaking fans, on the other hand, is more involved in the consumption aspects: Fans share their opinions through tweets and comments on newsgroups (for example, the Soompi discussion forum) as well as reviews and recaps on websites and blogs. However, the impact of their social media activity goes beyond the fan community. It spreads the word about the K-drama genre to social connections like acquaintances, friends and family (e.g. Facebook friends or followers on Twitter) and thereby generally raises its popularity. But it also affects the creation of new dramas. It influences the popularity of certain dramas, leading to higher demand for those videos from streaming sites and additional income for broadcasters. When a substantial profit results, it raises not only the prestige of people involved in the production but also provides feedback for production teams and indirectly influences future productions.

Asia

China

In China, South Korean programs on Chinese government TV networks accounted for more than all other foreign programs combined in 2006. Hong Kong has its own channel for airing Korean dramas, TVB J2, but ATV also airs Korean series in prime-time slots. My Love from the Star received enthusiastic feedback from China. It was viewed 40 billion times on numerous Chinese video sites. The drama also spurred interest about Korea, shown by China's increased consumption of Korean products such as chi maek (chicken and beer) and Korean cosmetics.

In Taiwan, interest in Korean dramas began when Star in My Heart aired in 1999. Since then, Korean dramas have become very popular, and according to the South Korean mission, 120 K-dramas had been broadcast in Taiwan in the first half of 2011.

Due to the success of Korean dramas in China, some dramas have been compiled to create feature-length films by combining all episodes into one film. The prodigious popularity of Korean dramas in the country has, on some occasions, been caught in the crossfire over diplomatic issues between China and South Korea. Most notable was the THAAD deployment in South Korea, which resulted in the blocking of Korean dramas on streaming services across the country in late February 2017. Following the block, Chinese TV shows showcasing Chinese culture and other similar content replaced Korean content on TV networks' prime time schedules in the country. In November 2017, the ban was lifted unannounced following the appearance of K-pop groups on national TV and the move to resume importation of Korean dramas by Chinese streaming services. In China, apps like IQiyi, which is currently also available in Malaysia, Singapore, Taiwan and some other countries in multiple different subtitles, are available to stream and download Korean dramas for viewing.

In 2025, star of My Love from the Star and popular K-drama actor Kim Soo-hyun's fan meeting event in Taiwan was cancelled five days before it was originally scheduled to begin due to issues with his private life.

The Chinese Communist Party-owned daily tabloid Global Times has praised the K-drama When Life Gives You Tangerines after its exclusive release on Netflix, which raised the issue of illegal streaming since Netflix is not available in China. Despite this, a supermarket in Hebei, China, used images of the main characters from the drama in advertisements without permission, including scenes of Park Bo-gum as Gwan-sik selling cabbages and IU as Ae-sun holding a cup of pea rice.

Japan

The first Korean drama to gain widespread popularity in Japan was Winter Sonata, which was broadcast on the NHK satellite channel NHK BS2 in 2003. The program was aired twice in the same year due to high demand from viewers. Its star, Bae Yong-joon, was immensely popular leading to a "Yonsama Craze" ("sama" is a Japanese suffix used to show respect for royalty, among others, and "Yon" comes from "Yong" in the actor's name). The fan demographic consisted largely of women in their 40s, 50s and 60s but NHK Broadcasting Culture Research Institute stated the drama "was enjoyed by not just a certain group, but by a great portion of the Japanese people, and its popularity expanded to a widespread interest in Korean culture in general". NHK also hosted a classical concert featuring ''Winter Sonata'''s tunes performed by Korean musicians.

Korean dramas boost tourism between Korea and Japan, and are considered a possible way of improving strained relationships between the two countries, as series have become increasingly popular with Japanese viewers. Conversely, the series Iris had several pivotal scenes shot in Akita, Japan, which led to an increase of Korean tourists in that part of country. The popularity of Korean dramas in Japan continued with series You're Beautiful (2009) which earned high ratings in the country, with its star Jang Keun-suk featuring on a Japanese stamp.

In 2018, Ilgan Sports reported that the historical drama Love in the Moonlight, which was first aired in South Korea in 2016, was broadcast in Japan on three channels (TVTokyo, KNTV, and Eisei Gekijou) due to its popularity leading to its star Park Bo-gum being the center of the Korean Wave in Japan akin to Bae Yong-joon. Park Bo-gum has since released a Japanese studio album titled "Blue Bird" in 2020 under Pony Canyon, and has held fan meetings and concerts in Japan's major arenas.

Mongolia

In Mongolia, Korean dramas have become popular and are broadcast during primetime. Dae Jang Geum achieved success in the country and was broadcast five times due to this. Autumn in My Heart, Winter Sonata and Stairway to Heaven were other popular dramas. The popularity of Korean dramas has resulted in interest in learning the Korean language as well as Mongolians travelling to South Korea. It has also led to increased mutually cooperative relations between Mongolia and South Korea.

North Korea

Watching films or TV dramas from South Korea is a serious offence in North Korea, punishable by execution, but people still manage to acquire them on CDs, VHS Tapes, streaming services and DVDs.

In 2021, there was an article that young people who were watching the popular drama The Penthouse: War in Life were caught in Pyeongseong, Pyeongnam Province, and will have to serve more than 10 years. Later, the residents of Yanggang Province began to imitate the famous lines from Penthouse series, and the residents were also unable to avoid punishment.

Brunei

In recent times, Korean dramas have experienced growing popularity in Brunei. The growing impact of Korean culture in Brunei led to the hosting of the ninth Korea Forum in the country at Universiti Brunei Darussalam in 2010. Korean television dramas, movies, music, and clothing have had a great impact on the people of Brunei.

Cambodia

The first Korean drama to be broadcast in Cambodia was Winter Sonata; it was, however, Full House that launched the interest in Korean dramas and entertainment in the country. Following the success of Full House, more Korean dramas have been dubbed into the Khmer language. Korean dramas have become popular, particularly amongst youth in Cambodia.

Indonesia

In Indonesia, Korean dramas have gained popularity and the popular Korean dramas Winter Sonata and Endless Love were aired on Surya Citra Media in 2002. Some Korean dramas have also been remade into Indonesian versions such as Demi Cinta in 2005 which was a remake of the popular drama Autumn in My Heart and Cinta Sejati, a remake of Stairway to Heaven. RCTI and Indosiar are examples of Indonesian television networks that air Korean dramas in the early times, but later Trans TV airing some of popular Korean dramas until today.

Laos

The popularity of Korean dramas and pop culture in Laos has led to many Laotian tourists travelling to South Korea. Korean pop culture has gained popularity in Laos through the Thai TV channels broadcasting Korean dramas and K-pop bands in the country.

Malaysia

In Malaysia, Winter Sonata began airing on TV3 in 2003, which started an interest in Korean pop culture in the country. Dae Jang Geum and Autumn In My Heart were also aired in Malaysia. The popularity of Korean dramas have resulted in a positive reception of Korean expatriates in Malaysia.

Myanmar

In Myanmar, the K-drama Autumn in My Heart was broadcast in the country in 2001, which led to interest in Korean entertainment. When Dae Jang Geum was aired, the drama sparked an interest in Korean cuisine in the country. The rising popularity of Korean dramas and music in Myanmar has led to the Korea Foundation for International Culture Exchange (KOFICE) distributing Korean dramas in the country for free.

Philippines

Since the 2000s, Korean television dramas are a regular source of entertainment in the Philippines. Huge demands from Filipino viewers prompted Philippine television stations to import South Korean programs. For more than two decades, GMA Network has the highest number of Korean dramas broadcast in the Philippines. Filipino politician and SAGIP Partylist representative Rodante Marcoleta complimented that Korean dramas have better stories and has a lot of choices: "they may not be so good at acting, but the flow of the story, especially their society is different so it will attract your interest, you get something to learn. They can show their culture, we see it ourselves and we say, we should adopt that too." President Ferdinand "Bongbong" Marcos, Jr. acknowledged the importance of Korean dramas and culture to the Filipinos: "with Korean restaurants sprouting out around the Philippines, Filipinos have shared stories and have laughed over some kimchi, some samgyeopsal with friends and family, and of course, the countless hours we have spent binge-watching our favorite Korean dramas and listening to K-pop. This highlights how the Filipinos love Koreans."

Singapore

In Singapore, Prime 12 (now known as Suria) originally aired the Korean drama Sandglass every week in 1996 and aired Asphalt Man in 1997. Since 2001, they have been shown on Chinese language channel MediaCorp Channel U daily. The launch of KBS World, ONE TV ASIA, Oh!K, Channel M and streaming app, Viu in Singapore allows viewers to watch Korean dramas with a variety of subtitles in a matter of hours after the original South Korean telecast. Currently, Singaporeans also get access to Korean dramas through China-originated online platform IQIYI, which first soft-launched its app in 2019 and planned to expand its international bases in Singapore.

Thailand

When Dae Jang Geum was aired in Thailand, Korean food started gaining wide popularity. Due to the lop-sided nature of entertainment exports favoring South Korea, the Thai government requested increased introduction of popular Thai films to South Korean media outlets. This led to the signing of an Agreement of Cultural Cooperation between the two countries in August 2004.

Vietnam

Korean dramas have also gained popularity in Vietnam, particularly among women and young people. The fashion and hairstyles presented in Korean dramas have become very popular among the youth of the country.

Bangladesh

Korean dramas have gained popularity in Bangladesh in recent years. Their rising popularity in the country has led to the Korea Foundation for International Culture Exchange (KOFICE), an organisation which aims to distribute Korean dramas for free to countries, cooperating with broadcasters to distribute Korean dramas for free in the country. With the growing number of K-drama fans in Bangladesh, more and more Facebook groups are popping up, giving them a platform to share their love of the shows with fellow K-drama enthusiasts and take part in events and activities hosted by the groups. One of the largest Bangladeshi K-Drama groups, BD K-Family, arranges a yearly get-together for its members. Other popular Facebook K-Drama groups include K-Drama Archive BD, Korean Lovers Bangladesh, and BD Korean Drama Fam- all of which create opportunities for both local and international fans to participate in discussions about their favourite shows.

Pakistan

In Pakistan, Korean dramas have gained popularity after the broadcast of My Love from the Star, Empress Ki and The Heirs have been broadcast in dubbed on H Now entertainment. Whereas Pakistan Television Corporation aired Dae Jang Geum and Descendants of the Sun being aired in Filmazia. However, during the pandemic, Hallyu sparked and took Pakistan by storm when the hit shows Crash Landing on You, All of Us Are Dead, and Squid Game took off. With the help of Korean Dramas and "K-pop" Pakistani youngsters are getting more familiar with them. Korean dramas are mostly watched by women and young Pakistanis. Korean dramas are unique enough to be endearing and familiar enough to be reassuring for Pakistani viewers because of the similar storylines regarding family, romance, and comedic elements. Pak-Korea Culture Collaboration (PKCC) is a group of young Pakistanis living in Karachi who want to improve ties between both cultures. The youth have worked with the Korean embassy in Karachi on multiple occasions to host festivals and activities, and they have been incredibly successful in their aim.

Bhutan

In the Himalayan kingdom of Bhutan, Korean dramas and entertainment have gained popularity, particularly amongst youth. Before interest in Korean entertainment, Bollywood had largely been the most popular form of entertainment in the country. When the Bhutanese film industry launched in the mid-1990s, Bollywood was the only form of influence on the industry. However, in recent years, Korean entertainment has made significant inroads in the country and influenced the entertainment industry alongside Bollywood. Korean entertainment has managed to influence fashion, and many video shops now sell Korean dramas and movies alongside Bollywood films. The interest in Korean entertainment has also led to controversy with older generations voicing their concern that Korean entertainment will deteriorate Bhutanese culture and traditions.

India

In India, after the late 1990s and around 2000 Korean dramas started becoming popular through piracy particularly in north-eastern states such as Manipur, Assam, Meghalaya, Sikkim, Arunachal Pradesh, Tripura, Mizoram and Nagaland as well as parts of eastern state like West Bengal and more recently in southern states like Kerala, Telangana, Tamil Nadu. Hindi films and TV serials were banned in Manipur in 2000, as a result local television stations began broadcasting subtitled Korean dramas instead from Arirang TV and KBS World. Many young people in north-eastern, eastern, northern and southern parts of India mimic the hairstyles, clothes of Korean actors while Korean fashion became very popular in the region. As part of cultural exchange, public broadcaster Doordarshan telecast Emperor of the Sea and Dae Jang Geum. Korean dramas are dubbed in Tamil on Puthuyugam TV such as Boys Over Flowers, My Love from Another Star, Playful Kiss and many more. Full House and Hwang Jini started airing on Firangi channel in 2008. Reliance Big TV offered KBS World to its subscribers from 2009 on satellite television. Local fan clubs got help from Consul-General of South Korea while Korean Cultural Centre in India (KCCI) under South Korean embassy started mapping popularity of K-dramas. As per KCCI, the motivation to understand Korean drama properly without subtitles is driving the uptake of Korean language classes among the youth with females outnumbering males. DD Bharati broadcast period drama Hur Jun in 2014 that received highest viewer ratings of 34 million from January to October 2014. Online streaming platform ZEE5 launched Descendants of the Sun to test the Indian market from February 8 to March 1, 2017, and found overwhelming positive response for Korean content with viewership ran close to 56 million. The telecast of Korean drama on Cable TV in 2017 stopped as Korean Broadcasting System Network wanted to raise syndication charges due to accumulation of large viewer-ship base in India that included pockets of Bihar, Kerala and Uttar Pradesh due to short 16 to 20 episodes format that are easier for binge-watching. With increasing interest in Korean content among younger generation from tier-1 cities, Samsung through its My Galaxy mobile application is partnering with Korean Broadcasting System (KBS) in 2019 to bring exclusive content for 20 million Indian users. With COVID-19 pandemic, Dish TV started premium K-dramas dubbed in Hindi and Tamil.

Korean dramas are also driving highest viewer-ship on Netflix with second season of TV series Kingdom attained the Top 10 series row as of March 2020. It's Okay to Not Be Okay is on Netflix Top 10 list in India for several weeks in August 2020 which has jumped to number 3 position. Netflix is increasing investment on Korean content to capture the Indian market. Over-the-top media service (OTT) MX Player confirmed rising popularity and demand of Korean dramas among millennial population especially the women audience and is now making deals with South Korean television and radio network company Seoul Broadcasting System (SBS) to bring more content in India. Korean dramas and films became most visited category for ShortsTV in India. As per media experts, the relatable themes in Korean content is fast catching the imagination of general public of almost every age group that is going mainstream and driving highest viewing especially after 92nd Academy Awards winning movie Parasite due to the shared Asian cultural heritage and societal values. As per Parrot Analytics report, K-drama series Crash Landing on You, is on demand 1.2 times than an average TV series that is 89.8% more than all drama titles shown in India forcing broadcasters to make extra slots as women are at the forefront of consumer demand in Korean content category. The COVID-19 lockdown in India proved to be an inflection point in 2020–2021 when Korean drama moved from a niche sub-culture segment to mainstream due to services like Netflix, Rakuten Viki and YouTube. It penetrated to every age group and social background. The popularity of Korean drama forced many over-the-top media service in India such as MX Player, Viu and ZEE5 to bring the dubbed versions in local language that will help cater to large non English speaking audience.

Nepal

Interest for Korean dramas in the Nepal began when Winter Sonata aired on Kantipur Television Network in the mid-2000s. This led to the popularity of other K-dramas such as Boys Over Flowers, Autumn In My Heart, You Are Beautiful and Full House to name a few. Popularity of Korean media products has also led to interest of learning the Korean language and has resulted in the emergence of Korean language tutorials that air on ABC Television in the country. Korean dramas have become popular among Nepali youth and markets are often frequented by teenagers looking to buy the latest dramas. The hairstyles and fashion of Korean actors have influenced the fashion sense of Nepali youth. Fascinated by the lifestyle and food of Korea, restaurants serving Korean cuisine have also been established in the country.

Sri Lanka

In Sri Lanka, the Independent Television Network aired Full House in 2009 and it proved popular. Dae Jang Geum aired on Rupavahini in 2012 and was dubbed in Sinhala under the title Sujatha Diyani (සුජාත දියණී), meaning "The Pure, Valuable Daughter" and received a viewer rate of over 90%. The Independent Television Network, Rupavahini, TV Derana, Sirasa TV, Swarnavahini and TV 1 air Korean dramas dubbed in the Sinhalese language. Streaming service, Iflix also streams many Korean dramas with English and Sinhalese subtitles in the country, some as early as 24 hours after their original Korean broadcast. Additionally, the popularity of Korean pop culture in the country has led to an increasingly warm reception towards Korean people.

Middle East and North Africa

Since the mid-2000s, Israel, Iran, Morocco and Egypt have become major consumers of Korean culture. Following the success of Korean dramas in the Middle East & North Africa, the Korean Overseas Information Service made Winter Sonata available with Arabic subtitles on several state-run Egyptian television networks. According to Youna Kim (2007), "The broadcast was part of the government's efforts to improve the image of South Korea in the Middle East, where there is little understanding and exposure towards Korean culture" (p. 31). The New York Times reported that the intent behind this was to contribute towards positive relations between Arab & Berber audiences and South Korean soldiers stationed in northern Iraq.

MBC4 (Middle East Broadcasting Channel) played a major role in increasing the Korean wave's popularity in the MENA region (Middle East and North Africa). This broadcasting channel hosted a series of Korean drama, paying for the Arabic subtitles or dubbed. starting 2012 such as Boys Over Flowers (أيام الزهور), You're Beautiful (أنت جميلة), Dream High (حلم الشباب), Coffee Prince (مقهى الأمير). Some Arab countries opposed Korean content (dramas, reality show) out of fear that their youth would abandon Islamic traditions in order to adopt Western modernity. However, this did not stop the Korean industries from exporting more Korean Dramas to the Arab world in the following years such as The Heirs (الورثة). The popularity of Korean dramas in the MENA region-and its continuous growth- originates from the content of these dramas. As the majority of the plots of Korean dramas focus on social issues (love between different social classes or family problems for instance), the Arab audiences fit themselves and could relate to the Korean socio-cultural values as they seem appealing to them. So Korean dramas play the role of an equilibrium point where two, somehow, different cultures could create a new cultural space where these two different cultures could meet.

LBC SAT and Rotana Drama (Rotana Group) played a major role in increasing the Korean wave's popularity in the MENA region (Middle East and North Africa). This broadcasting channel hosted a series of Korean dramas, paying for the Arabic subtitles starting in 2022, such as When I Was the Most Beautiful, Extraordinary You, Find Me in Your Memory, Love in Sadness, The Red Sleeve, and My Secret Terrius. The Arab audiences fit themselves and could relate to the Korean socio-cultural values as they seem appealing to them. So Korean dramas play the role of an equilibrium point where two, somehow, different cultures could create a new cultural space where these two cultures could meet. Fear that the learning rituals embedded in the show would lead Kuwaiti youth to abandon their traditions wholesale in order to adopt Western morality wholesale. However, this did not stop the Korean industries from exporting more Korean dramas to the Arab world in the following years.

Iran

Iran's state broadcaster, Islamic Republic of Iran Broadcasting (IRIB), aired several Korean dramas during prime time slots in recent years, with this decision attributed by some to their Confucian values of respect for others, which are "closely aligned to Islamic culture", while in contrast, Western productions often fail to satisfy the criteria set by Iran's Ministry of Culture and Islamic Guidance. In October 2012, the Tehran Times reported that IRIB representatives visited South Korea to visit filming locations in an effort to strengthen "cultural affinities" between the two countries and to seek avenues for further cooperation between KBS and IRIB. In 2008, the Korean drama Jumong achieved 85% viewership in Iran, According to Reuters, until recently audiences in Iran have had little choice in broadcast material and thus programs that are aired by IRIB often attain higher viewership ratings in Iran than in South Korea; for example, the most popular episodes of Jumong attracted over 90% of Iranian audience (compared to 40% in South Korea), propelling its lead actor Song Il-gook to superstar status in Iran.

Iraq

In the early 2000s, Korean dramas were aired for South Korean troops stationed in northern Iraq as part of coalition forces led by the United States during the Iraq War. With the end of the war and the subsequent withdrawal of South Korean military personnel from the country, efforts were made to expand availability of K-dramas to the ordinary citizens of Iraq. In 2012, the Korean drama Hur Jun reportedly attained a viewership of over 90% in the Kurdistan region of Iraq. Its lead actor Jun Kwang-ryul was invited by the federal government of Iraq to visit the city of Sulaymaniyah in Kurdistan, at the special request of the country's First Lady, Hero Ibrahim Ahmed.

Egypt

Autumn in My Heart, one of the earliest Korean dramas brought over to the Middle East, was made available for viewing after five months of "persistent negotiations" between the South Korean embassy and an Egyptian state-run broadcasting company. Shortly after the series ended, the embassy reported that it had received over 400 phone calls and love letters from fans from all over the country. According to the secretary of the South Korean embassy in Cairo Lee Ki-seok, Korea's involvement in the Iraq War had significantly undermined its reputation among Egyptians, but the screening of Autumn in My Heart proved "extremely effective" in reversing negative attitudes.

Europe

France

In 2013, Bonjour Coree, a French fan club of Korean dramas arranged an event at the Espace Pierre Cardin performance hall near the famous Champs-Élysées street called the "Drama Party". Organized fully voluntarily, the even was attended by then president Park Geun-hye. "Culture can be the first step to understanding each other, and it has an amazing power to help the people of two countries come together, I hope South Korea and France will become even closer through culture" stated Park in the screening.

Romania

The first Korean drama in Romania was aired on TVR in August 2009 with Dae Jang Geum, and in the following month it became the third most popular television program in the country. Since then, Korean dramas have seen high ratings and further success.

Turkey

The first Korean drama broadcast on television in Turkey began airing on TRT 1 in late 2005. The first series was The Merchant (Tacir). It came to Meltem TV in mid-2009 and the first series was Dae Jang Geum (Saraydaki Mücevher). It began airing on Mesaj TV at the same time. However, as a result of the closure of Mesaj TV on 1 December 2021, they switched to Meltem TV to watch Korean dramas. Until 2013, Korean series had achieved ratings.

In April 2020, the Korean series The King's Daughter, Soo Baek-hyang (Kralın Kızı), which was broadcast on TRT 1 during the daytime, was removed from the air. In 2021, Korean dramas were broadcast on TRT 1 at midnight. In January 2022, the last known TRT foreign series, Queen Seondeok (Muhteşem Kraliçe) Korean series, was removed from the air on TRT 1. It was bid farewell 50 years after the broadcast of TRT's first foreign series in 1972. The last Turkish TV channel to broadcast Korean dramas, Meltem TV, was finally removed from the air in 2024.

North America

The Asian American-targeted cable TV channels AZN Television and ImaginAsian aired Korean dramas alongside content from China, Japan, India, Thailand and other parts of Asia. The dramas were aimed at the Asian American community before the channels dissolved in 2008 and 2011 respectively. In November 2008, Netflix began offering several Korean dramas as part of its video selection. In August 2009, DramaFever began offering free subtitled video streaming service, with video advertisements, in the United States.

Singapore-based Viki streams popular Korean dramas across the world including North America, with subtitles in 70 languages. Companies in Asia have also designed streaming services available online and as mobile apps targeted towards overseas Asian communities. MobiTV created by the Sri Lankan company, Bhasha is a streaming service and mobile app aimed at the Sri Lankan community and streams Korean dramas dubbed in the Sinhalese language alongside other content aired in Sri Lanka. Roopa, created by the same company, is another service available as a mobile app also aimed at the Sri Lankan community, it too streams Korean dramas dubbed in the Sinhalese language. Chinese company PPTV is another example, a mobile app, PPTV网络电视HD streams Korean dramas aimed at the Chinese community alongside content that is primarily available in Mandarin, Cantonese and Korean but also increasingly in English. Additionally, Korean dramas are available at online DVD retailers. Some Korean dramas, however, are not available for region 1 (North America) encoding and NTSC video format. Amazon offers streaming of Winter Sonata for a fee.

KBFD-DT in Honolulu, Hawaii broadcasts a majority of Korean dramas on its daily schedule, as well as offering the programs on sale at its website and on demand through its K-Life channel on Oceanic Time Warner Cable. Another Honolulu outlet, KHII-TV devotes three hours of its Sunday afternoon schedule to Korean dramas. KTSF, a channel aimed at the Asian American community in San Francisco, California airs Korean dramas as part of its schedule alongside content in Mandarin, Tagalog, Hindi, Korean, Vietnamese, Japanese, Taiwanese and Cantonese.

South America

Between 2001 and 2002, South America began to absorb Korean programming. The 1997 series Star in My Heart began its successful broadcast in Chile, Peru and other countries in the area, but these last two were where More had repercussions, including an Ahn Jae-wook fan club founded. In 2002, Winter Sonata, produced by KBS 2TV, became the first series in the region to match the success of Meteor Garden, attracting a cult following in Asia. Marketing sales, including DVD sets and novels, exceeded $3.5 million in Japan. In 2004, then-Japanese Prime Minister Junichiro Koizumi noted that the series' male lead was "more popular than I am in Japan." Other Korean dramas released in later years such as Jewel in the Palace (2003) and Full House (2004) had comparable levels of success.

Chile

In Chile, which was one of the first countries on a global level, the phenomenon of Korean wave, which is also known as hallyu, began with the first drama aired that was the original 1997 MBC series Star in My Heart in 2001 by Chilevisión past midnight and later years later in 2003 it was retransmitted by in Chillán, but it was not until 2006, when Stairway to Heaven was broadcast at 1:00 pm on the public television channel Televisión Nacional de Chile, which achieved notoriety of this genre being compared to La madrastra—an old very successful Chilean soap opera—due to the high audience figures in its schedule competing directly with other channels, it was also broadcast by TV Chile to other continents dubbed into Spanish.

Brazil

In 2022, the Consulate General of Korea in São Paulo, Brazil, warned fans of Korean culture to be careful of scams, which have been increasing in the country. The notice came about after a Brazilian woman, who is a fan of K-drama, was defrauded by someone pretending to be actor Park Bo-gum, and was extorted .

Ratings and viewership

As of January 1, 2024, Viewership ratings are solely provided by Nielsen Korea. Originally, Nielsen Korea's predecessor, Media Service Korea (MSK), was the sole company providing TV viewership ratings using people meter since 1992, but was only limited to Seoul Capital Area. In 1998, TNS Media Korea began as a rival company in partnership with Taylor Nelson Sofres (TNS) which extended the service to five major cities; it was officially launched in June 1999 with a more sophisticated viewership rating survey technique. While, in August 1999, AC Nielsen acquired MSK and rebranded it as AC Nielsen Korea and expanded the audience rating survey to the whole country with the aim to increase the credibility of the ratings. In 2005, AC Nielsen Korea signed a merger with AGB Group and AGB Nielsen Media Research was established. AGB Nielsen Media Research merged with KADD Nielsen Media Research in January 2013, and the official name was changed to Nielsen Korea.

In 2010, TNS Media Korea was renamed to TNmS (Total National Multimedia Statistics). Since late 2018, TNmS stopped providing data to the public through their websites, and instead occasionally releases the ratings through news agencies such as BreakNews. TNmS eventually stopped its operations on January 1, 2024.

List of highest-rated series on terrestrial television

The list was compiled from data by Nielsen Korea, based on the episode of the highest viewership since 1992.

By household rating

By viewers

List of highest-rated series on cable television

• The following dramas air on a cable channel/pay TV which normally has a relatively smaller audience compared to free-to-air TV/public broadcasters (KBS, SBS, MBC and EBS).

By household rating

By viewers

Footnotes

References

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433. "February 26, 2023 Nationwide Cable Ratings".
434. "March 4, 2019 Nationwide Cable Ratings".
435. "June 27, 2021 Nationwide Cable Ratings".
436. "January 11, 2026 Nationwide Cable Ratings".
437. "August 28, 2022 Nationwide Cable Ratings".
438. "July 11, 2018 Nationwide Cable Ratings".
439. "October 1, 2023 Nationwide Cable Ratings".
440. "April 26, 2022 Nationwide Cable Ratings".
441. "January 8, 2023 Nationwide Cable Ratings".
442. "March 19, 2019 Nationwide Cable Ratings".
443. "August 31, 2025 Nationwide Cable Ratings".