The posters for "Jeongnyeon" from tvN and the webtoon / Courtesy of tvN and Naver Webtoon

The conclusion of the tvN drama "Jeongnyeon: The Star Is Born," which aired its final episode on Sunday, sparked significant backlash among fans of the original webtoon.

The series, which achieved a peak viewership rating of 16.5 percent, has been criticized for deviating from the webtoon's strong female narrative, leading to accusations of "original work destruction."

Experts have noted that the production team removed key themes of queer representation and feminism, which were central to the source material, resulting in the diminished overall quality of the drama.

"Jeongnyeon" follows the journey of Yoon Jeong-nyeon (played by Kim Tae-ri), a talented singer from Mokpo, as she joins the prestigious Maeran National Opera Company and rises to stardom. The story highlights the dreams, ambitions and struggles of female artists in the underexplored world of women's opera in the 1960s.

While the webtoon was praised for its nuanced storytelling, the drama faced backlash from the outset for omitting Bu-yong, a pivotal character. In the original, Bu-yong is not only Jeong-nyeon's first fan but also her creative partner and love interest. A playwright, Bu-yong pens "The Legend of the Twin Towers," the play that propels Jeong-nyeon to stardom.

Director Jung Ji-in explained in an interview with Cine21 that Bu-yong's essence was incorporated into other characters. However, some speculate the removal of Bu-yong was due to concerns about the webtoon's queer themes being deemed “sensitive” during production discussions.

Bu-yong, a character in the original webtoon "Jeongnyeon" / Courtesy of Naver Webtoon

Weak adaptation choices culminate in controversial finale

The drama's final episode further deviated from the original narrative, erasing much of the women's growth arcs. Ju-ran, who had a subtle romantic connection with Jeong-nyeon, is forced into marriage to support her family.

Meanwhile, the Maeran National Opera Company is dissolved, and their residence — a space for artistic collaboration — is sold to be turned into a "yojeong" (a high-end establishment associated with hostess services). Jeong-nyeon herself leaves opera to become a traditional open-air theater actress, a far cry from the empowering ending of the webtoon.

In contrast, the original webtoon ends with Bu-yong reuniting with Jeong-nyeon after refusing an arranged marriage, and the two lead women's opera to a renaissance. The creator of the webtoon, Seo Yi-rae, previously shared that the ending was intentionally optimistic, providing fictional justice to women artists who were historically overlooked.

Fans expressed their frustration online, labeling the finale as a “betrayal of the original.” One fan said, “Adapting a webtoon means building on an existing fan base, and that requires respecting its core themes. If the creators couldn't do that, they shouldn't have used the title Jeongnyeon.”

Another character removed from the drama, in addition to Bu-yong, is Mr. Go. In the original webtoon, Mr. Go, a young woman frustrated by the patriarchy and gender discrimination, begins dressing as a man and teaches Jeong-nyeon the nuances of performing male roles. Courtesy of Naver Webtoon

'Feminism erasure' accusations

The removal of Bu-yong and other feminist narratives has drawn sharp criticism. Cultural critic Cho Hye-young noted that Bu-yong represented a feminist figure who reclaimed her identity as a playwright, unlike her mother, who lived as a ghostwriter under patriarchal constraints.

“Removing Bu-yong erased the feminist context of the story,” Cho said. “If Ju-ran was meant to carry Bu-yong's legacy, her arc shouldn't have ended with marriage.”

Writer Lee Jin-song echoed this sentiment, saying, “By cutting key feminist characters like Bu-yong and Mr. Go (another original character who defied gender norms), the drama stripped away the original message and flattened the narrative into a conventional tale of fleeting talent.”

Underestimating viewers

Critics argue that the drama's changes stemmed from an underestimation of audiences' ability to engage with complex themes. Lee said, “Erasing queer and feminist elements to avoid controversy is ultimately an act of avoidance. It's akin to saying nothing at all.”

Cho pointed to international examples, such as Netflix's "Orange Is the New Black," which became a hit by embracing diverse identities and narratives. “Korean audiences are not as conservative as they're often portrayed. By staying true to the original themes, the creators could have showcased their storytelling prowess instead of watering it down,” Cho said.

The finale of "Jeongnyeon" is now seen as a missed opportunity to elevate its source material and engage audiences with a bold and authentic narrative. Critics suggest that its diluted adaptation reflects a broader need for creative risks in Korean drama production.

This article from the Hankook Ilbo, the sister publication of The Korea Times, is translated by a generative AI system and edited by The Korea Times.