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View all search resultsSouth Korean drama series The World of the Married is setting record-high ratings in Indonesia
South Korean drama series The World of the Married is setting record-high ratings in Indonesia.
The World of the Married is among hot topics in chat groups and social media, as well as a rich source of funny memes but there are valuable lessons yet to be learned.
The nail-biting adaptation of the United Kingdom’s BBC One series, Doctor Foster, will air its final two episodes next week, leaving viewers on an emotional rollercoaster .
The World of the Married, also known as A World of Married Couple in its translated Korean title, follows Ji Sun-woo (played by Kim Hee-ae), an accomplished doctor revered by her upper-class circle, who discovers her husband – financially-struggling filmmaker Lee Tae-oh (Park Hae-joon) – is having an affair with a younger woman named Yeo Dae-kyung (Han So-hee).
The series started airing on JTBC cable channel on March 27, on Fridays and Saturdays, and as of May 2 recorded the highest viewer rating of 26.7 percent in the Korean drama category in the country’s cable television history.
The series is available on OTT film streaming app iflix with Indonesian subtitles and on account of its popularity, broadcast company Trans TV will start airing it on May 11.
The original series consisted of a 10-part broadcast in two seasons in 2015 and 2017, mainly depicting the ugly process of divorce in the British upper-class community. It ends with a cliffhanger after the couple’s teenage son goes missing and creator Mike Bartlett has yet to plan a continuation.
The Korean version, however, wraps up the story in 16 episodes. While it closely follows the original plot, it remains to be seen whether screenwriter Kang Eun-kyung will follow the ending of the original series.
It has so far steered away from the typical revenge drama and instead explores the complex aspects of marriage life – the characters’ sexual life that got the series slapped with an R rating in South Korea and how support systems can be precarious.
The protagonist’s character arc fits the proverb “Hell hath no fury like a woman scorned” which, unfortunately, also goes for the Indonesian viewers who were enraged by the other woman they called pelakor – a slang word for husband snatcher – having flooded the comment section of the actress’ social media account with expletive words.
According to media and culture researcher Nur Imroatus, after the airing of a subbed episode on May 2, Twitter recorded 2,200 conversations about the story in Indonesia alone, achieving an engagement of 2 million users.
There were 1,500 news articles shared on social media regarding the series the same day.
“No wonder the series has become a trending topic. The story itself hits so close to our daily lives. Many people refused to watch the series despite its popularity because they were afraid of seeing themselves in the story or being confronted by the source of their discomfort in it,” said Imroatus, who is also the research and training manager of big data company Indonesia Indicator.
Imroatus was one of the panelists in a virtual public discussion held by Rahma.id, a newly launched web magazine for Muslim women, on May 2. The discussion was a follow-up to its analyses of the issues depicted in the series, which gained much attention from its readers.
The contributing authors, to name a few, are Imroatus, Siti Aminah Tardi – a commissioner with the National Commission on Violence Against Women (Komnas Perempuan), and Ria Oktorina of family empowerment initiative Relawan Keluarga Kita, wrote about power relations in marital relationships, prolonged abuse, and child-rearing in a dysfunctional family.
More than 60 people from different parts of the country and abroad attended the discussion, actively sharing their opinions and experience.
Another speaker, Wahyudi Akmaliyah from the Indonesian Institute of Sciences (LIPI), who has done research on the Hallyu Wave, said the Korean film industry was known for its research in developing a story that could easily come across as real.
“The story is adapted to meet Asian values. It is not common, however, to see a woman depicted on screen with such an amount of resistance in dealing with the situation, which excites viewers,” said Wahyudi, explaining the high emotional engagement from Indonesian viewers.
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