Han Kang, laureate of this year's Nobel Prize in literature, is awarded by Sweden's King Carl XVI Gustaf during the Nobel Prize award ceremony at the Stockholm Concert Hall in Sweden, Dec. 10. AFP-Yonhap
From Han Kang's historic Nobel Prize win to the ongoing evolution of K-pop and K-drama industry, 2024 was another year of cultural triumphs and trials for Korea. Landmark achievements, including UNESCO's recognition of Korean jang-making tradition as intangible cultural heritage and global success of K-pop artists such as Rose, stood alongside industry struggles in film and contract controversies within the entertainment sector. Here are the top 10 cultural issues that shaped Korea and beyond this year.
Han Kang wins Nobel Prize in Literature
On Oct. 10, Han Kang, the Korean author behind unflinching tales that probe the depths of human violence and its impact on identity, became the first Asian woman to win the Nobel Prize in literature.
In its announcement, the Swedish Academy praised her lyrical storytelling that “confronts historical traumas and exposes the fragility of human life.”
Her milestone achievement marks Korea's second Nobel honor, following former President Kim Dae-jung's Nobel Peace Prize in 2000.
Over her three-decade career, Han has penned poignant narratives that delve into both personal and historical suffering, giving voice to the broken and silenced.
Her celebrated works include the International Booker Prize-winning “The Vegetarian,” a visceral tale of gendered violence told through a woman's sudden rejection of meat; “Human Acts,” a stark depiction of state-led brutality during the 1980 Gwangju pro-democracy movement; and “We Do Not Part,” which revists the 1948 Jeju April 3 civilian massacre.
The Nobel laureate's historic feat quickly ignited a boom in Korea's publishing industry, injecting new life into a country grappling with declining reading rates. In just six days, sales of her books surpassed 1 million copies.
During her acceptance speech at the Nobel Banquet in Stockholm, Sweden, Dec. 10, the 54-year-old reflected on the enduring power of language in literature.
“In the darkest night, there is language that asks what we are made of, that insists on imagining into the first-person perspectives of the people and living beings that inhabit this planet, language that connects us to one another,” Han shared in English.
“Literature that deals in this language inevitably holds a kind of body heat. Just as inevitably, the (act) of reading and writing literature stands in opposition to all acts that destroy life.”
A woman checks her jar of jang (Korean fermented paste) at her home in southwestern city of Gwangju, Dec. 5. Korea's time-honored jang-making tradition, rooted in centuries-old fermentation and aging techniques, has officially earned recognition as UNESCO Intangible Cultural Heritage. Yonhap
Jang-making culture becomes UNESCO heritage
“Jang,” or Korean fermented paste, is the cornerstone condiment of Korean cuisine, enriching every dish from soups and stews to side dishes and dipping sauces.
Jang-making begins with “meju” (brick-shaped blocks of soybeans), combined with salt water and left to ferment in traditional earthenware pots for several months. This process gives rise to both “doenjang” (soybean paste), made from the wet mashed lumps, and “ganjang” (soy sauce), from the remaining liquid.
When meju is instead mixed with red chili powder, rice paste, barley malt and salt, it transforms into fiery “gochujang” (red pepper paste).
This time-honored sauce-making tradition, rooted in fermentation and aging techniques dating back to the Three Kingdoms Period (57 BCE–668 CE), has officially earned recognition from UNESCO. On Dec. 3, “knowledge, beliefs and practices related to jang-making in the Republic of Korea” were inscribed on the Representative List of the Intangible Cultural Heritage of Humanity.
“Along with rice and kimchi, jang sauces are at the heart of the Korean diet,” the committee noted.
With this latest inscription, jang-making culture becomes Korea's 23rd entry on the UNESCO Intangible Cultural Heritage list, joining other practices such as “pansori” (traditional musical storytelling), “talchum” (mask dance drama) and “kimjang” (kimchi-making).
Former Ador CEO Min Hee-jin speaks during a press conference in Jung District, Seoul, April 25. Korea Times photo by Park Si-mon
Min Hee-jin-HYBE feud
One of the most significant disputes in K-pop history, 2024 saw a fierce clash between former Ador CEO Min Hee-jin, along with the girl group NewJeans, and the entertainment giant HYBE Labels and its subsidiaries.
The conflict erupted on April 22 when HYBE launched an internal audit into Ador's executives, accusing former CEO Min of attempting to seize control of the company by seeking external investors. Min refuted the claims with a headline-grabbing press conference, accusing HYBE of deliberately delaying NewJeans' debut and copying NewJeans' concept to create another girl group, ILLIT.
Tensions escalated further when Min was removed as Ador's CEO on Aug. 27, which led the five NewJeans members to enter the fray, publicly demanding her reinstatement during a surprise YouTube livestream in September.
By November, Min announced her resignation from Ador's board, exercising a contractual clause to sell her shares to HYBE, aiming to sever all ties with the company. NewJeans followed suit, declaring their contracts with Ador terminated on Nov. 28, after their demand to reinstate Min as CEO was not accepted. However, Ador contested this, filing legal action to verify the validity of the idols' contracts.
Launching an independent Instagram account on Dec. 14, NewJeans sought a fresh start while continuing to engage with fans. Ador, meanwhile, maintains its role as the group's management, issuing press releases and sharing updates on NewJeans' activities, despite their legal disagreements.
While NewJeans pursues independence, the group's future remains uncertain amid Ador's legal pushback. Min, now removed from her executive role, stands at the center of a high-stakes battle looking to reshape the K-pop industry.
Rose and Bruno Mars released a collaboration song "APT." on Oct. 18. Courtesy of The Black Label
Rose sweeps world with 'APT.'
BLACKPINK has built a strong career, becoming one of the most famous K-pop girl groups globally. However, when the members started their solo careers, it was uncertain whether their individual efforts could live up to the group's established reputation.
Rosé has emphatically answered those doubts with her breakthrough single, “APT.,” which has become one of the biggest global hits in K-pop history.
The song, featuring pop star Bruno Mars, took the world by storm since its release on Oct. 18. Inspired by a popular drinking game in Korea called "Apateu" – the Korean pronunciation of "apartment" – it blends a catchy pop-rock genre with simple yet addictive lyrics from the game, set to a punchy beat.
Ahead of her first full-length solo album, "Rosie," dropped on Dec. 6, the pre-release track “APT.” quickly rose to the top spots on both local and international charts, shattering records.
“APT.” debuted at No. 8 on Billboard's main singles chart, the Hot 100, and at No. 1 on the Global 200, making Rosé the first K-pop female artist to land on both charts with a single digital ranking. It also claimed the fourth spot on the U.K.'s Official Singles Chart Top 100 and has remained on the chart for nine consecutive weeks.
The song topped Spotify's Daily Top Song Global and in the U.S., reaching 100 million streams on the platform in just a week, setting the fastest record for a K-pop female solo artist to achieve that milestone.
The song's music video also surpassed 500 million views on YouTube earlier this month, becoming the fastest music video to hit that mark among all K-pop solo and group artists.
The song also triggered a Korean drinking game phenomenon around the world, with videos of people playing Apateu going viral on social media. Along with Apateu, other drinking games have also garnered attention with videos and articles introducing different games like 3-6-9 or Son Byeong-ho Game.
SM Entertainment's rookie boy band NCT WISH, left, and HYBE Labels subsidiary Pledis Entertainment's TWS / Courtesy of SM Entertainment, Pledis Entertainment
Rookie boy bands emerge amid girl group dominance
Once defined by the dominance of girl groups in the fourth generation of K-pop, the industry is now seeing a significant shift in 2024 as boy groups emerge as strong contenders. From fresh-faced rookies to seasoned performers broadening their influence, the rise of boy groups is reshaping the competitive landscape of the industry.
Leading the charge is NCT WISH, the latest rookie sensation from SM Entertainment. The group debuted in February with "WISH," a track that introduced their signature style — uplifting lyrics and energetic melodies. In July, the group released its second single, "Songbird," followed by their first mini-album, "Steady," in September.
By November, the group expanded into the Japanese market with its first full-length album, featuring the single "Wishful Winter." The steady flow of releases and a growing fan base have made NCT WISH a breakout success.
Another rising star is TWS, a boy group under Pledis Entertainment, a subsidiary of HYBE. TWS launched its career with the February release of "Sparkling Blue," featuring the explosive mega-hit "Plot Twist." Their follow-ups, "Summer Beat!" in June and "Last Bell" in November, solidified their reputation, blending nostalgia with youthful energy.
The growth of 2023 debuts like RIIZE and BOYNEXTDOOR further reinforced the strength of boy groups, while industry heavyweights SEVENTEEN and Stray Kids expanded K-pop's global footprint.
As the year closes, the ascent of boy groups in the fourth and fifth generations of K-pop signals a dynamic evolution in one of the world's most competitive music markets.
Actor Kim Tae-ri in a scene from "Alienoid: Return to the Future" / Courtesy of CJ ENM
Box office slump continues
Korean films struggled at the box office in 2024, signaling a strong decline in the film industry due to the aftermath of the COVID-19 pandemic and increasing popularity of streaming platforms.
A key indicator of success in Korea is whether a film attracts 10 million viewers, a feat achieved by only two films this year — "Exhuma" and "The Roundup: Punishment." The number is the same as the previous year, underscoring the ongoing difficulties of the industry.
On a broader scope, only five films surpassed the 2 million mark, one less than the six in 2023 — though "Firefighters" could potentially join this list as it exceeded 1.8 million viewers as of Dec. 16.
Korea's film industry reached its peak in 2019, producing five films that attracted over 10 million viewers each and drawing a record total of around 220 million viewers. However, the pandemic brought about the worst slump in history the following year, with no film reaching the 10 million viewer mark until 2021.
Consecutive underperformance of big-budget films by CJ ENM, Korea's top producer and distributor, has exacerbated the prolonged downturn in the industry. These failures have been especially painful as they failed to revive or lead the stagnating market.
"Alienoid: Return to the Future," directed by prominent filmmaker Choi Dong-hoon and distributed by CJ ENM, needed to attract over 8 million viewers to break even but only managed to draw 1.4 million.
Critics also note that consumers' increasingly discerning tastes, favoring solid storylines and direction over star casting, add to the difficulty in producing box office successes.
Actor Gang Dong-won speaks during a press conference for Netflix movie “Uprising,” which was chosen as an opening movie of the Busan International Film Festival in Busan, Oct. 2. Newsis
Streaming giants reshape film industry
While the film industry continued to struggle, 2024 saw streaming platform service providers, such as Netflix and Tving, expand their influence beyond the film industry to the broader entertainment sector.
This wave of change was clearly seen at this year's Busan International Film Festival (BIFF). The largest cinematic event in Asia selected the Netflix movie "Uprising" as its opening film, marking the first time a film destined for a streaming platform — rather than theaters — was chosen as the opening feature.
Critics questioned whether films not intended for theatrical release should be featured at a cinema festival, traditionally known for spotlighting creative, low-budget works and emerging talents.
BIFF Chairperson Park Kwang-su noted the rationale behind the selection. "Even theatrical films can be watched later on TV and we have simply reversed that process," he said.
Tving also garnered attention by releasing new works during the festival. The streets of Busan, where the festival was held, were filled with posters of works produced by these streaming platforms.
The way audiences consume entertainment is clearly evolving, with a growing trend toward platforms that allow viewers to enjoy films at their convenience, anytime and anywhere. This shift is challenging how films are accessed and enjoyed, reshaping the cinema industry.
From left, directors Kim Han-gyeol, Kim Se-hwi, and Park Young-ju / Courtesy of Lotte Entertainment, Content Zio, and Showbox
Female directors shine
Amid the film industry's bleak outlook, female directors — from newcomers to experienced ones — have brought a glimmer of hope to the struggling scene over the year.
When the sci-fi action sequel, “Alienoid: Return to the Future,” hit theaters this January, many expected it to dominate the box office for weeks with stellar cast members and high-budget production.
But the film soon slipped to the second spot on the chart when the comedy action film, “Citizen of a Kind,” directed by newcomer Park Young-ju debuted two weeks later. Park's feature directorial debut became a surprise hit, claiming the No. 1 spot at the box office and outperforming “Alienoid” on the day of its release.
The film, inspired by a real-life crime, follows an ordinary single mom on a mission to catch the leader of a phishing cartel. With a budget of 6.5 billion won ($4.46 million), the film sold 1.71 million tickets, grossing approximately 16.1 billion won.
Another mid-size budget film, "Following," achieved box office success after its release in May, despite competing with the smash-hit franchise, “The Roundup: Punishment.” Filmmaker Kim Se-hwi's directorial debut, about a realtor tracing clues to the death of a client, gained popularity due to its humorous take on the suspenseful murder mystery genre.
The film followed closely behind "The Roundup" on the box office chart and stayed in the top five for nearly a month, despite competition from Hollywood releases like "Furiosa: A Mad Max Saga" and "Inside Out 2."
Director Kim Han-gyeol, who previously led the rom-com film, “Crazy Romance,” also made a notable achievement with her new comedy film, "Pilot.”
The film, about a male pilot disguising as a woman for a job after being laid off, secured the fifth spot on this year's overall box office, followed by “Exhuma,” "The Roundup: Punishment,” “Inside Out 2” and “I, the Executioner.” It sold about 4.72 million tickets and generated 43.2 billion won in revenues.
A scene from the tvN drama "Lovely Runner" / Courtesy of CJ ENM
Webtoons, web novels fuel K-drama boom
The adaptation of popular intellectual properties (IP), such as web novels and webtoons, has surged this year. This trend of turning webtoons into dramas has become a dominant force across both streaming platforms and traditional television.
Netflix has been making waves with its original series adapted from popular webtoons, including "A Killer Paradox" and "Sweet Home" Season 3. Following the huge success of last year's "Moving," which was based on the work of webtoon artist and screenwriter Kang Full, Disney+ released another drama adaptation of one of Kang's webtoons, "Light Shop," in December, aiming to replicate the triumph.
Korean networks have also capitalized on this trend with a series of successful adaptations, as seen in tvN's "Lovely Runner," "Marry My Husband," "Jeongnyeon: The Star Is Born" and MBC's "When the Phone Rings."
The webtoon industry has become a goldmine for drama producers seeking to minimize risk. By adapting popular webtoons, producers can tap into a preexisting fan base and increase the likelihood of commercial success. This strategy is particularly appealing in today's saturated content market, where original works often face higher production costs and uncertain returns.
The popularity of "Jeongnyeon" had already soared prior to its drama adaptation, bolstered by its dedicated fan base of four years. Excitement peaked when Kim Tae-ri was announced as part of the cast, fueling anticipation for the series to unprecedented levels. This highlights the power of webtoon adaptations in creating prerelease buzz, a feat that is often more challenging for original works to achieve before their premiere.
Web fiction-turned-drama, "Lovely Runner," has proven that so-called "female-oriented content" can result in hit shows, even with relatively small budgets and without casting big-name stars.
By blending the nostalgic charm of early 2000 teen dramas with the vibrant energy of today's K-pop fandoms, this series captivated a wide array of its female audience. This drama catapulted the relatively unknown actor Byeon Woo-seok, who played the K-pop idol Sun-jae, to stardom.
A scene from Netflix's cooking survival show "Culinary Class Wars" / Courtesy of Netflix
Korean reality shows captivate global audiences
In 2024, streaming platforms took the lead in reshaping entertainment shows. While traditional terrestrial channels primarily focused on observational reality shows, streaming platforms introduced a diversity of survival shows and innovative formats.
Among these, Netflix's "Culinary Class Wars" pitted renowned chefs against hidden culinary gems, instantly captivating global audiences and topping the non-English TV shows category for three consecutive weeks after its premiere.
The global streaming platform's reality shows such as "Single's Inferno" and "Physical: 100" had already made waves in the global market. "Single's Inferno," which premiered in 2021, is a dating survival show where contestants must form couples to escape "hell." It became the first Korean Netflix show to rank in the top 10 of Netflix's global non-English TV shows.
"Physical: 100," first released in 2023, became the first Korean Netflix series to top the Netflix global non-English TV shows category. Season 2 followed this year, also topping the non-English category and entering top 10 in 87 countries.
Meanwhile, the success of these variety shows has solidified the concept of seasons and established them as Netflix's flagship IPs. The survival, competition and growth themes of these survival shows struck a chord with the global audience, transcending cultural differences.
"Single's Inferno" has already reached its third season, and the fourth season is set to air in January 2025. "Physical: 100" has also been renewed for a third season, which will feature a global cast, expanding the stage to Asia. The breakout hit "Culinary Class Wars" has been renewed for a second season, scheduled for release in the second half of next year.