43 mins long so here's my subjective short summary in case it's worth it for you:
South Korea developed a widely popular "K-Drama" mini~series industry over decades of iteration, but wages for overworked writers were perpetually pitiful and upside for producers very limited (due to IP & value capture by broadcasters)
Netflix tested the waters licensing existing K-Drama content years prior to Covid then flooded production with much much higher $ to own original IP and make huge returns (NB Squid Games).
Writers & producers are only slightly better off, but their long honed winning formula for creating audience beloved content has been greatly skewed in new directions (i.e. subjectively artistically worse) due to economic dis/incentives.
Modern global tastes, such as for short form slop, are also enshittifying the content.
ThrowawayR2•30m ago
The HN moderators have asked users to avoid summary comments: "Please don't post summary comments like this. I know they're well-intentioned, but they're not in the spirit of this site. HN threads are supposed to be curious conversations. Also, we want people to respond to the article, not to a summary." (https://news.ycombinator.com/item?id=39670657)
danhite•2h ago
South Korea developed a widely popular "K-Drama" mini~series industry over decades of iteration, but wages for overworked writers were perpetually pitiful and upside for producers very limited (due to IP & value capture by broadcasters)
Netflix tested the waters licensing existing K-Drama content years prior to Covid then flooded production with much much higher $ to own original IP and make huge returns (NB Squid Games).
Writers & producers are only slightly better off, but their long honed winning formula for creating audience beloved content has been greatly skewed in new directions (i.e. subjectively artistically worse) due to economic dis/incentives.
Modern global tastes, such as for short form slop, are also enshittifying the content.
ThrowawayR2•30m ago