Analysis of ‘Top 100 Korean Drama (MyDramaList)’ provided by Analyst-2 (analyst-2.ai), based on source dataset retrieved from https://www.kaggle.com/chanoncharuchinda/top-100-korean-drama-mydramalist on 28 January 2022.

--- Dataset description provided by original source is as follows ---

Top 100 Korean Drama on MyDramaList

According to mydramalist.com, "MyDramaList.com is a community-based project which provides Asian drama & movie fans". On the website, fans can "create their very own drama watchlists, rate dramas and films, write reviews" and many more engaging activities. This dataset ranks the Top 100 Korean Drama rating given by the users on the website.

Content

• Name: Korean Drama name
• Year of release: Release year of the drama
• Aired Date: Aired Date (start) - (end)
• Aired On: Aired on what day(s) of the week
• Number of Episode: How many episodes are there
• Network: What Network is the drama aired on
• Duration: How long is one episode approximately
• Content Rating: Content rate for appropriate audience
• Synopsis: Short story of the drama
• Cast: Actors and Actresses in the drama
• Genre: Genre that the drama is listed in
• Tags: Tags that the drama is listed in
• Rank: Ranking on the website
• Rating: Rating by the users on the website out of ten

Acknowledgements

This data is taken from the website https://mydramalist.com/shows/top_korean_dramas?page=1. This is my first time doing web scrapping. I wouldn't be able to do it without the help of StackOverflow and YouTube.

Inspiration

I have been a huge fan of Korean Drama and K pop since high-school. It is fun to integrate what I love with my interest toward data science. Some of the interesting questions (possibly tasks) here would be:

1. What is/are the popular Genres and Theme (Tags column) and does it leads to higher rating?
2. Does the day at which is the drama is aired affects its rating?
3. Create a recommendation system for the Drama (and check with the recommendation by the website)

The possibility is endless...keep striving!

--- Original source retains full ownership of the source dataset ---

A recent survey found that 31 percent of Indonesian consumers watch Korean content very often. The global analysis revealed that China was also shown to have a significant proportion of viewers, with 37 percent of respondents reporting that they sometimes watch Korean TV series or movies. The North American markets were the least likely to engage with K-content, with 72 percent of those surveyed from Canada and the USA never watching Korean shows or films.

According to a 2024 survey conducted across 28 countries around the world, about ** percent of respondents stated that Korean dramas (K-dramas) were very popular in their countries that year. In total, around **** percent of respondents felt that K-dramas were generally popular even outside of dedicated fan circles. The international rise of K-dramas Even before the 2021 survival series "Squid Game" exploded on the international scene, K-dramas enjoyed an increase in international interest. Older K-dramas still enjoy high popularity amongst international audiences. This rise in interest has had a noticeable effect on entertainment exports, with K-drama exports having increased by about ** percent in recent years. K-dramas and hallyu "Hallyu", which translates to the Korean Wave, describes the phenomenon of the rising popularity of South Korean pop culture and other cultural elements. This includes entertainment, such as K-pop and K-dramas, but also extends to other areas such as food and K-beauty. Hallyu tourism has become its own category of tourism in South Korea. While during the coronavirus (COVID-19) pandemic only about **** percent of tourists were hallyu tourists, partaking in experiences related to K-pop or other hallyu-relaed activities, by 2023 that figure had risen to ** percent. Prior to the pandemic, hallyu tourism was particularly popular amongst tourists from other Asian countries, with as many as ** percent of Filipino visitors traveling to South Korea because of hallyu.

According to a survey conducted in the United States in 2024, around **** percent of respondents considered K-dramas to be popular among the general public in their country. However, a similar share disagreed, saying it was only popular among fan circles.

The global internet micro-short drama production market is experiencing robust growth, fueled by the increasing popularity of short-form video content and the expanding reach of streaming platforms. The market, estimated at $5 billion in 2025, is projected to maintain a healthy Compound Annual Growth Rate (CAGR) of 15% throughout the forecast period (2025-2033), reaching an estimated market value exceeding $15 billion by 2033. Several key drivers contribute to this expansion, including the rising penetration of smartphones and affordable internet access, particularly in emerging markets. Furthermore, the evolving consumption patterns of younger demographics, who favor easily digestible and engaging short-form content, are significantly bolstering demand. The market is segmented by application (male and female audiences) and type (urban, costume, fantasy, and other genres). The diverse range of genres allows for targeted content creation, catering to specific audience preferences and further driving market expansion. While competition among major players like Tencent, Kuaishou, and TikTok is fierce, the overall market remains largely unsaturated, presenting significant opportunities for new entrants and innovative content strategies. Geographic distribution reveals strong growth in Asia-Pacific, driven by China and India's substantial populations and burgeoning digital media consumption. However, North America and Europe continue to be substantial markets with established streaming infrastructure and significant advertising revenue potential. Potential restraints include regulatory challenges concerning content standards and intellectual property rights, along with the ever-evolving preferences of online audiences requiring consistent adaptation and innovation. The competitive landscape is characterized by both established media giants and rapidly emerging independent production houses. The increasing sophistication of video production technology, coupled with the accessibility of online distribution platforms, lowers the barrier to entry for smaller players. This contributes to increased content diversity and potential disruption within the market. Strategic alliances and collaborations among these players are becoming increasingly common, with major platforms investing in and acquiring smaller production companies to expand their content libraries and reach broader audience segments. This trend reflects the ongoing market consolidation, as larger companies strive to secure dominant positions within the rapidly evolving landscape of internet micro-short drama production. Future growth hinges on leveraging emerging technologies like AI-powered content creation tools and personalized recommendation algorithms to further enhance user engagement and deliver tailored content experiences.

According to a survey conducted in India in 2024, around **** percent of respondents considered K-dramas to be widely known among the general public in their country. This further extended to related goods, such as merchandising, being available.

According to a report by Parrot Analytics, drama digital original series had 52.1 percent of the South Korean audience demand share. This made South Korea the country with the highest demand for drama digital originals analyzed in this report.

The global drama performance market, encompassing original and translated dramas across online and offline platforms, is experiencing robust growth. While the exact market size for 2025 is not provided, considering the presence of major players like the Royal Shakespeare Company and numerous international theatre groups alongside burgeoning Asian markets (China, Japan, South Korea), a reasonable estimation for the 2025 market size would be in the range of $15-20 billion USD. This is supported by the inclusion of large-scale production companies and theatre chains in the provided list of companies and the diverse geographical reach. The market's growth is fueled by several key drivers: increasing disposable incomes in emerging economies leading to higher entertainment spending, the rising popularity of streaming services expanding access to drama performances, and the continued appeal of live theatrical experiences, particularly among younger demographics. Trends such as immersive theatre, virtual reality experiences integrated with performances, and the growing use of social media for marketing and audience engagement further contribute to market expansion. However, challenges remain, including the impact of economic downturns on discretionary spending, competition from other forms of entertainment, and the need for continuous innovation to keep up with evolving audience preferences. Segmentation analysis reveals significant growth potential in both original and translated drama productions, with online platforms showcasing increasing traction. The projected Compound Annual Growth Rate (CAGR) further indicates strong market potential. While the exact figure is missing, considering the factors driving growth, a conservative estimate for the CAGR over the forecast period (2025-2033) would be around 5-7%. This growth reflects the ongoing digitalization of entertainment, the global appeal of diverse theatrical narratives, and the adaptability of the drama performance industry to incorporate new technologies. Regional analysis suggests strong performance across North America and Europe, complemented by significant growth opportunities in the Asia-Pacific region, particularly China and India, due to their large populations and expanding middle classes with increased disposable income. The successful integration of digital distribution and the creative exploration of new performance formats will be crucial for continued market expansion and success in the coming years.

The vertical screen short drama market is experiencing robust growth, driven by the increasing popularity of short-form video content and the widespread adoption of smartphones. The market's accessibility, coupled with its suitability for diverse genres and target audiences (male and female), contributes to its expansion. Segments like costume and fantasy dramas are particularly thriving, capitalizing on the visual appeal and engaging storytelling potential of the format. Key players like Tencent, TikTok, and iQiyi are heavily invested, leveraging their vast platforms and user bases to fuel this growth. Geographic distribution indicates strong performance in Asia-Pacific, particularly China, reflecting the region's high smartphone penetration and affinity for online video entertainment. While North America and Europe show promising growth potential, the market penetration is currently lower compared to Asia. The market is expected to maintain a healthy Compound Annual Growth Rate (CAGR) exceeding 15% through 2033, fuelled by continuous technological advancements, evolving consumer preferences, and innovative content creation strategies. However, challenges remain, including content saturation, competition for user attention, and the need for effective monetization strategies to ensure long-term profitability. The rise of new short-form video platforms and competition from other forms of entertainment will also play a role in shaping market dynamics. The competitive landscape is highly fragmented, with numerous players ranging from established media giants to smaller independent studios. The success of individual companies depends heavily on factors such as content quality, audience engagement, effective marketing, and the ability to adapt to rapidly evolving technological advancements and consumer preferences. The ongoing innovation in production techniques, distribution models, and audience engagement methods will be crucial in driving sustained market growth and shaping the future of vertical screen short drama. This includes exploring immersive experiences, interactive storytelling, and personalized content recommendations to retain viewers and enhance engagement. The continued expansion into international markets, particularly in regions with high smartphone penetration and burgeoning internet access, will be key to achieving widespread market penetration and maximizing revenue potential.

The global vertical screen short drama market is experiencing robust growth, driven by the increasing popularity of short-form video content and the widespread adoption of smartphones. The market, estimated at $5 billion in 2025, is projected to exhibit a Compound Annual Growth Rate (CAGR) of 15% from 2025 to 2033, reaching approximately $15 billion by 2033. This expansion is fueled by several key factors: the rising preference for easily consumable content among younger demographics, the increasing penetration of high-speed internet, and innovative storytelling formats tailored for vertical screens. The diverse segments, including applications catering to male and female audiences and types encompassing urban, costume, fantasy, and other genres, contribute to the market's breadth and growth potential. Key players like Tencent, TikTok, and iQiyi are leveraging their established platforms to capitalize on this trend, leading to fierce competition and continuous innovation in content creation and distribution. Geographic expansion is another significant driver. While Asia-Pacific, particularly China, currently holds the largest market share, regions like North America and Europe are demonstrating significant growth potential as viewing habits evolve and vertical short-form video platforms gain traction. However, the market faces certain restraints, including the challenge of monetizing short-form content effectively and the need to address concerns around content quality and intellectual property rights. The increasing competition among platforms and the potential for market saturation also pose challenges. Nevertheless, the overall market outlook remains positive, driven by the evolving consumption patterns of viewers and the continuous evolution of technology and content formats. Strategic partnerships, innovative marketing strategies, and diversification into new genres are crucial for market players to sustain their competitive edge.

BackgroundOnline broadcasting substantially affects the production, distribution, and profit of TV series. In addition, online word-of-mouth significantly affects the diffusion of TV series. Because on-demand streaming rates are the most important factor that influences the earnings of online video suppliers, streaming statistics and forecasting trends are valuable. In this paper, we investigate the effects of periodic impulsive stimulation and pre-launch promotion on on-demand streaming dynamics. We consider imbalanced audience feverish distribution using an impulsive susceptible-infected-removed(SIR)-like model. In addition, we perform a correlation analysis of online buzz volume based on Baidu Index data.MethodsWe propose a PI-SIR model to evolve audience dynamics and translate them into on-demand streaming fluctuations, which can be observed and comprehended by online video suppliers. Six South Korean TV series datasets are used to test the model. We develop a coarse-to-fine two-step fitting scheme to estimate the model parameters, first by fitting inter-period accumulation and then by fitting inner-period feverish distribution.ResultsWe find that audience members display similar viewing habits. That is, they seek new episodes every update day but fade away. This outcome means that impulsive intensity plays a crucial role in on-demand streaming diffusion. In addition, the initial audience size and online buzz are significant factors. On-demand streaming fluctuation is highly correlated with online buzz fluctuation.ConclusionTo stimulate audience attention and interpersonal diffusion, it is worthwhile to invest in promotion near update days. Strong pre-launch promotion is also a good marketing tool to improve overall performance. It is not advisable for online video providers to promote several popular TV series on the same update day. Inter-period accumulation is a feasible forecasting tool to predict the future trend of the on-demand streaming amount. The buzz in public social communities also represents a highly correlated analysis tool to evaluate the advertising value of TV series.

The global paid micro-short drama production market is experiencing rapid growth, driven by increasing smartphone penetration, readily available high-speed internet, and the rising popularity of short-form video content. Consumers, particularly younger demographics, are increasingly drawn to easily consumable entertainment formats that fit their busy lifestyles. The market is segmented by application (male and female audiences), and type (urban, costume, fantasy, and other genres), allowing for targeted content creation and monetization strategies. Key players like Tencent, Kuaishou, and TikTok are heavily invested in this space, utilizing their existing platforms and user bases to launch and promote micro-short dramas. The diverse range of genres reflects audience preferences and evolving content trends, with costume and fantasy dramas often proving particularly popular due to their visual appeal and ability to engage viewers across diverse cultural backgrounds. This market’s growth is further fueled by advancements in video production technology, making high-quality content more accessible to independent producers and smaller studios. However, the market also faces challenges. Competition is fierce, with established players and emerging studios vying for audience attention and advertising revenue. Content creation requires significant investment in talent, production, and marketing, potentially creating barriers to entry for smaller companies. Furthermore, regulatory landscapes regarding content appropriateness and intellectual property rights vary across regions, necessitating careful navigation of legal and compliance considerations. Despite these restraints, the long-term outlook for the paid micro-short drama production market remains positive, with continued growth expected over the next decade, particularly in regions with high internet and smartphone penetration rates like Asia-Pacific and North America. The market's success hinges on continuous innovation in storytelling, efficient production methodologies, and the ability to effectively target and engage specific audience segments through personalized content.

As of June 2022, Naver Webtoon, a South Korean online service providing online comics, also called webtoons, reported a global user count of around 85.6 million users. As the domestic webtoon industry is growing in South Korea, the online comics have also gained attraction globally. In addition to Korean content gaining popularity in general, webtoons are also more commonly adapted as a live-action series, such as the Netflix horror series "Sweet Home", "All of us are dead" or romance series such as "Cheese in the trap".