The globalization of entertainment continues with US-based companies increasingly investing in Korean content and Korean companies now investing in content for the US market.
Take the case of the Korean production company Studio Dragon, a subsidiary of entertainment giant CJENM. Studio Dragon has produced a host of internationally popular Korean dramas such as Crash Landing On You, Mr. Sunshine and Sweet Home that streamed on Netflix. As well as successfully increasing its presence in the US streaming market, the company is now partnering with the US-based production company, Skydance Television, to produce content for the US market.
According to The Korea Times, Studio Dragon recently signed a deal with the U.S. production company to co-produce the mystery fantasy series, The Big Door Prize, a 10-part original series that will be shown on Apple TV+.
The story is set in a small town where a grocery store machine predicts destinies and changes lives. It will be adapted from M.O. Walsh’s novel of the same name by David West Read, the writer and executive producer of Schitt’s Creek. Studio Dragon and Skydance will also produce a US version of Studio Dragon’s hit fantasy drama Hotel del Luna, which starred IU and Yeo Jin-goo.
Studio Dragon is not the only Korean production company making inroads into American entertainment this month. While several US-based companies such as Netflix, Apple TV and Disney have invested in producing Korean content, JTBC Studios recently also signed on to play a part in producing content for the US market.
Korea’s JTBC Studios recently became the majority owner of the Los Angeles-based production company Wiip, the studio behind HBO’s recent successful series Mare of Easttown and the upcoming The White House Plumbers, as well as the Apple TV+ series, Dickinson. JTBC Studios is the production company behind such hit Korean drama series as The World of the Married, Itaewon Class and Sky Castle. Wiip is led by CEO Paul Lee, who ran ABC Entertainment and ABC Studios for The Walt Disney Co.
The future of entertainment is global and it will be interesting to see whether such partnerships lead to more opportunities for Korean actors, writers and directors to play a part in US-based productions.