The pact gives Netflix streaming rights to more than 20 Korean drama series over the next three years and follows a similar partnership signed with Seoul-based Dragon Studio just last week.
Netflix continues to bet big on Korean drama.
The streaming giant on Monday unveiled a three-year licensing deal with South Korean cable TV network JTBC. Under the partnership, which begins at the start of 2020, Netflix will acquire the worldwide streaming rights to more than 20 Korean-language drama series titles produced and aired by JTBC.
The deal comes hot on the heals of a similar three-year partnership Netflix unveiled last week with Seoul-based Studio Dragon, another producer of popular K-drama series. That deal entailed more than 21 K-drama titles heading to Netflix, including both licensed shows and several originals that Studio Dragon will develop and produce for the streamer.
With established Hollywood rivals like Disney now hoarding their IP for their own direct-to-consumer offerings, Netflix appears to be hurrying to further establish itself as a go-to destination for Korean drama — a recognition of the growing global popularity of the genre's glossy hit shows.
The new JTBC deal is an extension of a licensing agreement Netflix signed with the company in 2017. That earlier pact gave Netflix access to JTBC's library of 600 hours of scripted and unscripted TV shows. Since then, according to the two companies, several of JTBC's shows — such as SKY Castle, Something in the Rain, Life and My Country: The New Age — have proven a popular draw with Netflix users around the world.
“Our members love great made-in-Korea stories," Netflix said on Monday. "We are thrilled to present the depth and variety of best in class Korean stories from JTBC."
Added JTBC: "The trust between JTBC and Netflix will become more solidified through the agreement. The agreement will also drive JTBC's entrance into overseas markets as a global production house with high-quality content."
Movie theater chains will be exempted from paying the usual 3 percent cinema development fund fee on all ticket sales, and studios will be able to recoup some funds lost due to canceled shoots or delayed releases.
South Korea's government has unveiled a series of measures designed to boost the country's influential but coronavirus-battered film industry.
Central to the policy plan is a decision to exempt major cinema chains from paying into South Korea's movie development fund. Under local law, large movie theater chains usually are required to pay 3 percent of all ticket sales to the Korean Film Council's movie development fund, which is used to support the local industry's development in various ways. The fund typically generates about $45 million in contributions per year. The new exemption will apply retroactively from February.
The policy response was unveiled in Seoul by South Korea's Deputy Prime Minister and Finance Minister Hong Nam-ki. He said the government was originally envisioning allowing only delayed payments into the development fund, but decided an exemption was required after further countenancing the depth of the damage caused by the coronavirus.
After Bong Joon Ho's historic Oscar wins for Parasite in February, 2020 was expected to be a celebratory year of growing global relevance for the Korean film industry. But the coronavirus pandemic, which hit Korea hard in February, has put a damper on such hopes. The Korean Film Council reported Wednesday that box office in March totaled just $12.3 million 15.15 billion won, down from $103.0 million 126.56 billion won last year.
The government also unveiled several measures to support production and distribution companies. It will subsidize a portion of the marketing costs for 20 selected movies that were forced to postpone or cancel their release plans during the first quarter because of the coronavirus epidemic. The production companies behind 20 selected movies that were forced to halt shooting because of the crisis also will receive funds to help them resume production, according to the finance minister's announcement. At the level of the individual, the government said that 400 industry professionals who lost their jobs or haven't been able to find freelance gigs because of the crisis will be eligible for free vocational training.
The policy plans drew a decidedly mixed response from industry observers. Korean news agency Yonhap ran a story Thursday questioning whether the measures "are effective and realistic enough for theaters and filmmakers to get over the crisis."
Independent movie theaters and art house cinemas with less than 1 billion won $814,000 in annual sales already were exempted from the fund and don't seem to be getting any aid from the government's proposals. It also has been pointed out that most Korean production professionals who have been made idle by...
SPOILER ALERT: If you are among the few who haven’t actually watched Netflix’s Tiger King docuseries, this review contains a lot of details about what goes down in the sad big cat saga.
With Netflix poised in the coming days to cash in and crank the base up a notch with more Tiger King, it's time to come out and say it: I hate the Red State porn that is the crash and burn of Joe Exotic
The initial seven episodes of this septic and shallow patchwork of trademark infringement, sex, guns, labor exploitation, song, drugs, mullets, betrayal, animal activism, revenge, and a lot of big cats may be much binged over these weeks of coronavirus lockdown, but that doesn't mean it's actually worth watching.
Now, I get it, I sound like I'm just a dour critic who hates anything that isn't prestige premium cable or aspirational. C'mon man, you want to say, Tiger King: Murder, Mayhem and Madness is just so unbelievable, I can't look away.
I respectfully disagree, and in fact, propose Tiger King isn't just bad, but dangerous in a divided America persistently looking to reduce the other side to caricature.
In a presently ailing nation where TV is more voluminous and vital than ever, the truth is the March 20 launched Tiger King is a clawed white trash misery index. Gawking at some clearly fragile and damaged people like would-be reality TV star Exotic and their below the Mason-Dixon line antics, the series subsequently provides a cultural circus for those smug bicoastals under stay at home orders and screaming to rise up in moral superiority.
Essentially, the tale of big cat collector, self-styled Oklahoma zoo proprietor and 2016 Presidential candidate Exotic AKA Joseph Maldonado-Passage and his ultimately unsuccessful attempt to have rival Carole Baskin knocked off by a hitman hired for $3,000, Tiger King is in that context more a zero-sum game, literally and figuratively, than hitting the zeitgeist.
Obviously, Netflix are pretty damn good at gauging and dragging the public mood over the years, as the likes of the then phenomenon of 2015's Making A Murderer or 2018’s Wild Wild Country prove. Yet, for all the attention it has drawn, this unfocused murder for hire exploration of sorts emerges as a bastard child of Cops, a million Dateline segments from the 1990s and Fox’s short-lived Murder in Small Town X reality show from 2001.
Not exactly the prestige product that the home of Roma, The Irishman and American Factory likes to brag about at award shows. Then again, with the knowledge that the Romans sold out the Colosseum every night feeding Christians to the lions, the bottom line based House of Hastings surely loves the subscription sign up that the currently incarcerated Maldonado-Passage and the accompanying motley gaggle of...