Korea-Japan TV collaborations go beyond remakes and star pairings, set sights on the world

In recent months, a notable surge in collaborative television projects between South Korea and Japan has emerged, reflecting a strategic shift from local market focus to global ambitions. October’s slate of premieres includes multiple joint ventures that integrate talent, intellectual property, and production resources from both countries, signaling a new era of co-produced content designed with international viewers in mind.

Historically, Korea-Japan television collaborations largely centered on remakes or star-studded pairings intended to appeal within their respective domestic audiences. However, contemporary projects such as “Merry Berry Love,” a romance series starring Ji Chang-wook and Mio Imada, exemplify a conscious effort to create narratives that naturally incorporate elements from both cultures and are crafted to resonate globally. This series, backed by a partnership between Korea’s CJ ENM and Japan’s Nippon TV, quickly climbed to the second spot on Disney+’s worldwide TV chart following its October 7 release, illustrating the growing appetite for such cross-border stories.

Industry observers confirm that this evolution in collaboration is largely driven by the expansion of global streaming platforms, which have transformed content distribution models. Unlike past practices where productions were initially tailored for domestic consumption and later adapted for foreign markets, current co-productions are developed with simultaneous multi-territory release strategies. This approach has prompted Japanese broadcasters, facing a mature and highly competitive domestic market valued at approximately $32 billion in 2023, to seek partnerships that can enhance their international footprint.

By contrast, South Korea’s video market, while smaller at around $12 billion, has gained outsized influence through its export of television content, which reached over $539 million in 2023. Korean dramas have consistently punched above their weight globally, fueled by an export-driven industry model that leverages presales and international streaming deals. Japan’s producers are now keen to adapt aspects of this outward-looking strategy, drawing inspiration from Korean successes like Netflix’s “Squid Game.”

One example of this trend is the thriller “kiDnap GAME,” which premiered on October 6. This project, co-produced by Fuji TV, Korea’s SimStory, and Hong Kong’s MakerVille, was conceived with a multi-national audience in mind and shot across seven Asian cities. The series’ director, Yusuke Kato, cited the impact of Korean global hits as motivation to craft content that appeals beyond Asian markets, targeting viewers in Europe and the United States as well.

Major Korean entertainment companies, particularly CJ ENM, have become pivotal players in these collaborations, offering expertise in intellectual property development and international content planning. Their alliances with Japanese broadcasters such as TBS and Nippon TV involve not only co-productions of dramas and films but also joint ventures like StudioMonowa, which combines Korean global content strategy with Japanese IP and distribution capabilities.

Despite these ambitious goals, many co-productions still rely heavily on Japan for filming locations, casting, and initial broadcast. Cost structures differ significantly, with Japanese dramas generally operating at lower episode budgets compared to Korea’s high-end productions. Yet, Japan’s vast reservoir of manga, anime, and game IP remains an attractive asset for Korean producers seeking stable content foundations and financing avenues.

Creative collaborations also open opportunities to merge distinct narrative styles. Korean dramas often emphasize dynamic and emotionally direct storytelling, while Japanese dramas are noted for their nuanced character exploration and intricate thematic focus. Projects such as “The Monster Within,” co-produced by SLL and TV Asahi, aim to synthesize these strengths to create enriched storytelling experiences. Similarly, Netflix’s “The Human Vapor” showcases cross-cultural production techniques, blending Korean on-set editing practices with Japanese direction to refine the final product.

Romance continues to dominate the genre landscape within Korea-Japan co-productions, accounting for nearly two-thirds of verified scripted collaborations in 2024. This preference aligns with improving social and cultural relations, particularly among younger generations, and reflects a strategic choice to focus on universally relatable themes less encumbered by historical tensions.

Overall, these developments mark a significant recalibration in East Asian television production, where Korea and Japan no longer view each other solely as adjacent markets but as equal partners in the pursuit of worldwide audience engagement. By combining their respective strengths in storytelling, production, and IP development, they are positioning themselves to compete more effectively on the global stage.