It’s concerning how Disney has been handling Ji Chang Wook’s dramas, and it raises questions about the promotion for The Manipulated. Both Gangnam B-side and The Worst of Evil were met with minimal effort—no photoshoots, little social media presence, and almost no buzz-building activities.
What’s particularly frustrating is seeing the stark contrast in how Light Shop and even The Fiery Priest (which isn’t even a Disney original) are being promoted. The consistent neglect of Ji Chang Wook’s projects is deeply disappointing and reflects poorly on Disney’s priorities. For an actor of his caliber and global fanbase, this lack of effort is unacceptable.
While Manipulated City has a bit of similarity, the character dynamics I envision are quite different. In that film/series, the protagonist is indeed an ordinary man who embarks on a revenge mission. What I propose, however, is a character who only appears to be a regular person but is, in fact, far from it. Beneath his façade of a normal life lies a hidden past as a highly skilled assassin, now reawakened by a personal crisis. The contrast between his seemingly mundane existence and his formidable skills would add layers of intrigue and depth to the story.
I would like to see him play the character of a common man living a normal happy life with his family.... Then something happens (someone kidnaps his wife or something like that) and we find out the character he's been playing is all a facade and he's actually a highly trained professional assassin who had left his former life behind just to live a normal life with a woman he fell in love with. And the bad guys have no idea what they have stepped into.
Ha Yoon Kyung on her experience of working with Ji Chang Wook...
"I don't have many scenes with senior Ji Chang-wook, but what surprised me was how relaxed he was. When we think of Ji Chang-wook, we think of a 'world star' but he's very easygoing and relaxed."
"He was very relaxed before filming, but his gaze immediately changes once filming begins. If you look for interviews, he always says, 'A stunt double did it,' but that's not true. He does almost everything himself." She added, "He's good at action scenes and doesn't lose his body. He acts as if he's dying. It's dangerous and he could get hurt, but he acts as if he's pouring his soul into it. I think he's really cool."
These shows were iconic hence why they did so well and were extremely popular
If that's your argument "they were iconic because they received the highest ratings"... then sorry to break it to you, you're the dumb one.
High TV ratings don’t automatically make a show "iconic." Ratings reflect how many people watched the show, not its quality or cultural impact. Plenty of dramas get high ratings due to star power, prime time slots, or lack of competition—not because they’re groundbreaking or well-made.
An iconic show leaves a lasting impression, sets trends, or redefines its genre. Just because something was popular in the moment doesn’t mean it stood the test of time or resonated deeply with audiences beyond its initial hype. Popularity and quality aren’t always the same thing.
So, no, high ratings don’t automatically make a show iconic. They just mean a lot of people were watching. Whether it’s truly iconic is another story.
IStrong Woman Do Bong Soon is a perfect example. Just because it’s the 2nd most-watched K-drama on kisskh doesn’t automatically make it "iconic." The plot was practically non-existent, relying heavily on overused tropes, humor, and romance rather than strong storytelling. Popularity doesn’t equal quality or lasting impact.
The term "iconic" should be reserved for shows that have originality, cultural influence, and staying power—not just for those with high viewership. Popularity without substance is just noise, and that doesn’t make a show truly iconic.
First, while it’s true that FlixPatrol compiles top 10 rankings rather than raw viewership data, this does not…
You raise some valid concerns, but there are key points where the argument falls short or lacks nuance:
1. Competitive Environment
While it might seem that Disney+ lacks competitive content, this doesn’t diminish the achievement of reaching #1. Even in a less saturated market, a show still needs to attract and retain enough viewers to surpass others, whether they are new or old titles. A drama maintaining the top spot reflects sustained interest, and dismissing this because of the absence of other "attractive" content overlooks the fundamental point: the show has captured the audience's attention, which is the core of measuring success.
2. Definition of 'Global'
The narrow view of what constitutes a “global hit” overlooks how interconnected modern media markets have become. If a show trends in multiple countries within Asia—a continent with immense cultural and economic influence—it undeniably demonstrates global reach. The term "global" doesn’t imply universal dominance but rather cross-border appeal. Asia alone comprises over half of the world’s population, and its streaming market is massive. Thus, success in Asia isn’t merely regional; it carries significant global weight.
3. Reliability of FlixPatrol Data
It’s true that FlixPatrol doesn’t provide raw viewership data and has limitations. However, while it might not capture the full scope of a drama’s impact, dismissing its rankings entirely is shortsighted. FlixPatrol reflects trends and popularity based on actual streaming platform data. To assess true global impact comprehensively, it would be ideal to have metrics like engagement rates or viewership hours, but in the absence of this data, top 10 rankings still offer meaningful insights into a show's popularity.
In summary, while a deeper analysis using varied metrics would provide a fuller picture, rigid criteria for what constitutes global success and dismissing current data trends undervalue the significance of popularity in major Asian markets. A show’s impact isn’t confined by the presence of Western validation—it’s defined by its ability to resonate across borders, and in this case, it clearly does.
Oh, and let’s not forget—Kim Soo Hyun’s Knock-Off is coming to Disney+ next year. If that drama tops charts in multiple Asian countries, will it suddenly become a “global hit” then? Funny how personal bias works. When it’s a favorite actor, achievements in Asia might magically count as global success. The standards for what makes a “global hit” shouldn’t change depending on whose name is in the credits. Success in Asia matters—no matter who’s starring in the show.
It's really funny that it being #1 on Flixpatrol (which only compiles top 10 lists and not actual viewer data)…
First, while it’s true that FlixPatrol compiles top 10 rankings rather than raw viewership data, this does not undermine the significance of a show reaching #1 in multiple countries. Rankings reflect relative popularity, and being #1 in several markets—especially in a competitive streaming environment—indicates substantial viewership. A show doesn’t ascend to the top spot without considerable engagement, even if exact numbers aren’t disclosed.
Second, the dismissal of Asia as a primary indicator of global success is both inaccurate and reductive. Asia is home to some of the world’s largest and most influential streaming markets. Countries like South Korea, Japan, India, and China (where applicable) represent millions of viewers. Dominating charts in these regions isn’t a minor achievement—it’s a testament to a show’s wide-reaching appeal. To suggest that a show must top charts in Western markets like the U.S. or Europe to be considered “global” is to ignore the evolving dynamics of global media consumption.
In essence, a show that resonates with audiences across diverse countries—regardless of geographic location—has earned its status as a global hit. Success isn’t confined to any one region, and the impact of Asian viewership should not be underestimated. Global influence is measured by reach and resonance, not just by dominance in traditionally Western-centric markets.
These shows were iconic hence why they did so well and were extremely popular
Yes.. 1. My Demon - A 3rd class rip-off to Doom at your service and Goblin with monotonous storyline and acting. 2. Queen - Same old terminal illness, storyline from the 2000's, ML was literally celebrating the wife's diagnosis. 3. The Heirs - Most cliche drama ever. 4. Memories of Alhambra - Even the makers didn't know where they wanted to go with the storyline. 5. Bride of Habaek - Weak plot development, lack of chemistry between the leads, and failure to capture the depth and charm of the original webtoon.
Is it really Pyo Ye Jin holding Ji Chang Wook's hand in the photo or is it Jo Yoon Soo? If it is Pyo Ye Jin, they should have announced her character with the rest of the cast.
What’s particularly frustrating is seeing the stark contrast in how Light Shop and even The Fiery Priest (which isn’t even a Disney original) are being promoted. The consistent neglect of Ji Chang Wook’s projects is deeply disappointing and reflects poorly on Disney’s priorities. For an actor of his caliber and global fanbase, this lack of effort is unacceptable.
How about it? Wouldn't it be intriguing?
"I don't have many scenes with senior Ji Chang-wook, but what surprised me was how relaxed he was. When we think of Ji Chang-wook, we think of a 'world star' but he's very easygoing and relaxed."
"He was very relaxed before filming, but his gaze immediately changes once filming begins. If you look for interviews, he always says, 'A stunt double did it,' but that's not true. He does almost everything himself." She added, "He's good at action scenes and doesn't lose his body. He acts as if he's dying. It's dangerous and he could get hurt, but he acts as if he's pouring his soul into it. I think he's really cool."
https://adenews.imbc.com/M/Detail/438984#_mobwcvr
High TV ratings don’t automatically make a show "iconic." Ratings reflect how many people watched the show, not its quality or cultural impact. Plenty of dramas get high ratings due to star power, prime time slots, or lack of competition—not because they’re groundbreaking or well-made.
An iconic show leaves a lasting impression, sets trends, or redefines its genre. Just because something was popular in the moment doesn’t mean it stood the test of time or resonated deeply with audiences beyond its initial hype. Popularity and quality aren’t always the same thing.
So, no, high ratings don’t automatically make a show iconic. They just mean a lot of people were watching. Whether it’s truly iconic is another story.
IStrong Woman Do Bong Soon is a perfect example. Just because it’s the 2nd most-watched K-drama on kisskh doesn’t automatically make it "iconic." The plot was practically non-existent, relying heavily on overused tropes, humor, and romance rather than strong storytelling. Popularity doesn’t equal quality or lasting impact.
The term "iconic" should be reserved for shows that have originality, cultural influence, and staying power—not just for those with high viewership. Popularity without substance is just noise, and that doesn’t make a show truly iconic.
1. Competitive Environment
While it might seem that Disney+ lacks competitive content, this doesn’t diminish the achievement of reaching #1. Even in a less saturated market, a show still needs to attract and retain enough viewers to surpass others, whether they are new or old titles. A drama maintaining the top spot reflects sustained interest, and dismissing this because of the absence of other "attractive" content overlooks the fundamental point: the show has captured the audience's attention, which is the core of measuring success.
2. Definition of 'Global'
The narrow view of what constitutes a “global hit” overlooks how interconnected modern media markets have become. If a show trends in multiple countries within Asia—a continent with immense cultural and economic influence—it undeniably demonstrates global reach. The term "global" doesn’t imply universal dominance but rather cross-border appeal. Asia alone comprises over half of the world’s population, and its streaming market is massive. Thus, success in Asia isn’t merely regional; it carries significant global weight.
3. Reliability of FlixPatrol Data
It’s true that FlixPatrol doesn’t provide raw viewership data and has limitations. However, while it might not capture the full scope of a drama’s impact, dismissing its rankings entirely is shortsighted. FlixPatrol reflects trends and popularity based on actual streaming platform data. To assess true global impact comprehensively, it would be ideal to have metrics like engagement rates or viewership hours, but in the absence of this data, top 10 rankings still offer meaningful insights into a show's popularity.
In summary, while a deeper analysis using varied metrics would provide a fuller picture, rigid criteria for what constitutes global success and dismissing current data trends undervalue the significance of popularity in major Asian markets. A show’s impact isn’t confined by the presence of Western validation—it’s defined by its ability to resonate across borders, and in this case, it clearly does.
Oh, and let’s not forget—Kim Soo Hyun’s Knock-Off is coming to Disney+ next year. If that drama tops charts in multiple Asian countries, will it suddenly become a “global hit” then? Funny how personal bias works. When it’s a favorite actor, achievements in Asia might magically count as global success. The standards for what makes a “global hit” shouldn’t change depending on whose name is in the credits. Success in Asia matters—no matter who’s starring in the show.
Second, the dismissal of Asia as a primary indicator of global success is both inaccurate and reductive. Asia is home to some of the world’s largest and most influential streaming markets. Countries like South Korea, Japan, India, and China (where applicable) represent millions of viewers. Dominating charts in these regions isn’t a minor achievement—it’s a testament to a show’s wide-reaching appeal. To suggest that a show must top charts in Western markets like the U.S. or Europe to be considered “global” is to ignore the evolving dynamics of global media consumption.
In essence, a show that resonates with audiences across diverse countries—regardless of geographic location—has earned its status as a global hit. Success isn’t confined to any one region, and the impact of Asian viewership should not be underestimated. Global influence is measured by reach and resonance, not just by dominance in traditionally Western-centric markets.
1. My Demon - A 3rd class rip-off to Doom at your service and Goblin with monotonous storyline and acting.
2. Queen - Same old terminal illness, storyline from the 2000's, ML was literally celebrating the wife's diagnosis.
3. The Heirs - Most cliche drama ever.
4. Memories of Alhambra - Even the makers didn't know where they wanted to go with the storyline.
5. Bride of Habaek - Weak plot development, lack of chemistry between the leads, and failure to capture the depth and charm of the original webtoon.
Definitely iconic (for you atleast).
And then they go on to rate...
Queen of tears - 9.5
My Demon - 8.5
Memories of Alhambra - 8.5
The bride of Habaek - 8.5
The Heirs - 8.5
The irony!
And the official title is "The Manipulated"
https://x.com/KAvenyou/status/1859432745124102656