[비즈한국] The SBS drama ‘Manager Kim’ has silenced those who attributed the decline of domestic dramas to global online streaming platforms. In a situation where local OTT services cannot compete with global giants like Netflix, terrestrial TV dramas were considered to be in an even more precarious position. However, SBS's ‘Manager Kim’ not only surpassed a 20% domestic viewership rating but also went on to beat the Netflix-produced drama ‘True Education’ to claim the #1 spot globally.
Ultimately, it proved that the most local content can become global content, and that Korean production companies and broadcasters are capable of achieving this. It is understandable why SBS regrets that ‘Manager Kim’ was only 10 episodes long.
The show has also been dubbed ‘K-Taken.’ This is because its high-concept premise is similar to the film ‘Taken,’ starring Liam Neeson, which features a father saving his kidnapped daughter. However, such plot points are not exclusive to ‘Taken.’ Since the narrative of a father saving his daughter has been used in many works, it could be called a cliché.
At this point, it is necessary to summarize why ‘Manager Kim’ is not just a ‘K-Taken’ but rather ‘Manager Kim.’ First of all, the drama ‘Manager Kim’ goes beyond the binary structure of a story about villains kidnapping a daughter. It introduces a "hidden master" character and setting, which seems to align with recent K-content trends. It moves beyond simply repeating "hidden master" tropes and structures them a step further. Specifically, the secret that the father is a North Korean spy comes into play. It is even more absurd and confusing for the daughter to learn that he isn't just an intelligence agent or a former special forces soldier, but a spy.
This evokes a very specific type of trauma, anxiety, and fear for Koreans. The protagonist, Manager Kim, possesses a complex identity as a former North Korean operative. This can be considered a highly Korean element that goes beyond movies like ‘The Man from Nowhere’ or ‘Taken.’ This is because Korea's unique situation of national division is applied here. It appears to be a dramatic device intended to intensify the action scenes and conflict structure.
Furthermore, the character of Manager Kim is different from previous inter-Korean espionage thrillers. The structure of being pursued by both North and South Korean forces deepens the conflict, heightens immersion, and builds another storyline involving North Korean spies. Moreover, the setting—a former North Korean special forces operative settling in South Korea as a high school girl’s father and an ordinary savings bank employee—is a step forward compared to the film ‘Shiri.’
In addition, there is a sense of humanity derived from the support and cooperation of those around him. Sung Han-soo (Choi Dae-hoon) and Park Jin-chul (Yoon Kyung-ho), both former South Korean intelligence agents, join forces with Manager Kim (So Ji-sub) and risk everything to save Min-ji (Seo Soo-min). An intelligence agent disguised as a dry cleaner, Mr. Im, and Sang-ah (Son Na-eun), disguised as an office employee, also help Manager Kim in their own ways.
Furthermore, the culprit behind the assault and kidnapping of Min-ji is intertwined with school violence. Gangsters are an essential element in Korean action films, and Joo Kang-chan (Joo Sang-wook)—a cold-blooded sociopath and former thug who rose to the position of chairman of Joo-hak Construction—seeks to eliminate Min-ji for the sake of his daughter, who committed school violence. The final showdown between Manager Kim and Joo Kang-chan, who share the common bond of fatherly love, exposes the raw reality of the social hierarchy and power structure in Korea, inducing dramatic tension and immersion.
One could say this drama is unrealistic. Does a person like Manager Kim actually exist? The action choreography is cartoonish. The premise of a former North Korean special forces agent as the protagonist seems absurd. However, the reality may be different. North Korea remains a looming presence, and it was recently announced that they plan to expand the mission of the ‘Reconnaissance General Bureau,’ the central agency for gathering intelligence and conducting operations against the South and abroad.
In such a situation, it is inevitable that more ‘No. 66’ characters like Manager Kim will be fostered in reality. K-content, even if the premise is absurd, is rooted in reality. The drama ‘Manager Kim’ is no exception. Incorporating the verisimilitude of reality into cartoonish imagination is the very essence of K-content.
Objectively, there may be limits to how Korean terrestrial, cable, and general programming channels can compete with global streaming platforms like Netflix. However, when universal formats and storylines are combined with Korean sensibilities, structures, and settings like those in ‘Manager Kim,’ they can capture the attention of not only domestic but also international audiences. In particular, it is important to establish seasonal series, as seen with SBS's Friday-Saturday dramas, by responding to viewer demand through various attempts. Following ‘Dr. Romantic,’ ‘Taxi Driver,’ and ‘The Fiery Priest,’ ‘Flex X Cop’ and ‘Good Partner’ are also returning for second seasons. A second season for ‘Manager Kim’ is entirely possible.