The Best K-Dramas That Are Not on Netflix

Without a doubt, Netflix reigns supreme as the global leader in the K-drama craze, having spent vast sums on Korean television, even though the primary forces behind K-drama’s popularity may not directly benefit from this investment. This strategic move has earned Netflix numerous accolades, with approximately 8 out of 10 subscribers tuning into Korean content. However, as Netflix hurries productions and often prioritizes stars over quality in some instances, other streaming platforms have seized the opportunity to vie for a share of this market. This might take some fans by surprise, given that Disney and Prime Video tend to be more discreet when promoting their K-dramas in Western markets. But fear not, if they’re keeping quiet about the fantastic K-dramas that aren‘t on Netflix, we’ll make sure you know!

It’s not shocking at all that Hulu and Disney+ lead this list, considering how rapidly Disney produces content. Interestingly, there’s a wide variety of platforms profiting from our enduring fascination with South Korean media, such as Prime Video and even Tubi. However, one service missing is Viki – a platform dedicated solely to Asian content. One could make the case for it deserving its own list. Nevertheless, several challenges arise when considering Viki, including restricted compatibility with devices and a price that’s tough to justify compared to other streamers offering a broader selection of content. Furthermore, we omitted shows that are always available on Netflix (notably, “My Mister” and “Reply 1988,” both highly acclaimed K-dramas).

Despite these restrictions, they don’t hinder our possibilities at all. The titles below capture the essence of top-notch K-dramas – delving into human emotions, showcasing the power of community, and emphasizing truth – and in many aspects, a level of quality that has become increasingly rare.

Moving (Hulu; Disney+ outside the U.S.)

In any conversation about top-tier K-dramas, you’d be remiss not to mention “Moving“. Amidst the exhaustion of superhero stories in 2023, Kang Full took a unique approach by questioning: What if having superpowers was a curse? This marks a departure from the overused narrative of American superheroes who are typically portrayed as exceptional individuals. Instead, Kang positions them as outcasts in society, struggling with fear and hunted by a government that sees their uniqueness as a threat.

Personally, as a film enthusiast, the allegory of superpowers as disabilities portrayed in “Moving” by character Lee Jae-man (Kim Sung-kyun) is long overdue and refreshing within the genre. From a broader K-drama perspective, its emphasis on unity, empathy, and breaking down the perceived walls between us, masterfully illustrated through the relationship of Bong-seok (Lee Jung-ha) and Jang Hui-soo (Go Young-jang), sets it apart from the stumbles of the MCU and Netflix’s less-than-successful attempt to cash in on its success with “The Atypical Family.” In 2023, I wrote that it would be almost unjust to classify “Moving” as a superhero show. It stands alone as a unique category within television.

Revenant (Hulu; Disney+ outside the U.S.)

In 2023, Disney and K-drama had a remarkable year, and so did this list. Before the word-of-mouth hit “Moving” took off, “Revenant” served as a journey through the best of South Korean folk horror to remind us of what we’ve been missing, as western horror often leans on quickly created franchises like the Conjuring universe and relies heavily on jump scares. You can count on quality when Kim Tae-ri is on screen. “Revenant” strengthens that assurance by casting her in two roles, portraying both the tormented yet empathetic Gu San-yeong and the demon possessing her. Alongside folklore professor Yeom Hae-sang (Oh Jung-se), San-yeong delves into her own grief and the lingering trauma of death that “Revenant” explores with a subtle, chilling dread characteristic of authentic Korean horror. Exceptional acting and production make “Revenant” a truly unsettling gem. The empathetic perspective it offers on lost souls is what makes it an unexpected delight.

Light Shop (Hulu; Disney+ outside the U.S.)

Discussing the theme of empathetic dread, Kang Full carries on his unique take on established genres in the 2024 release titled “Light Shop“. Ju Ji-hoon and Park Bo-young spearhead an acting ensemble, as Kang argues that our fear towards the monsters in horror tales mirrors our unacknowledged biases. Although not entirely novel, this perspective is similar to the bold metaphor for societal outcasts depicted in “Moving“. If the latter series represents an aggressive critique of those outside societal norms, then “Light Shop” offers a more subtle rejection of labeling as otherness those we don’t immediately comprehend. In a dim and haunted passage where both the living and dead must journey, Jung Won-young (Ju) and his titular light shop serve as a guiding light, illuminating how we are still entangled with these spirits. Kang suggests that the only difference between us and the creatures we fear is that we can depart from this alley once we’ve left Jung’s sanctuary.

Marry My Husband (Prime Video)

Amazon has been quietly impressive in its sporadic Korean productions, and this is evident in shows like “No Gain No Love” and the latest “Good Boy”. However, it’s the time-travel revenge-romance series that stands out the most, even with a not-so-appealing title. In the overused genre of K-dramas, “Marry My Husband” adds a refreshing self-awareness about its own quirkiness and cleverly uses a modern twist on the classic “She’s All That” makeover to overcome typical K-drama tropes effectively.

In the drama “Marry My Husband,” when Kang Ji-won (Park Min-young) unexpectedly finds her husband Park Min-hwan (Lee Yu-kyun) with her best friend Jeong Su-min (Song Ha-yoon), she learns that he has murdered her after she reveals her terminal cancer. In a twist, Ji-won is transported back to her past self, allowing her to confront her own illness and seek revenge on Su-min for her role in her husband’s infidelity and the stress that ultimately caused Ji-won’s cancer. Unlike many revenge thrillers, “Marry My Husband” delves deeply into Ji-won’s complex moral dilemmas, making her a more relatable protagonist. Additionally, the series handles the sensitive topic of illness with care and features a lovable cat. One indication of its quality is that it has already been remade in Japan and released on Prime Video in June.

Blood Free (Hulu; Disney+ outside the U.S.)

In my perspective as a movie reviewer, I found myself once again drawn into the captivating world of filmmaker Lee Soo-yeon, where AI chatbots and synthetic meat dominate near-future Korea. The story revolves around CEO Yun Ja-yu, skillfully portrayed by Han Hyo-joo, who grapples with the complexities of her synthesized meat empire. Her life is safeguarded, somewhat intriguingly, by Woo Chae-woon (Ju Ji-hoon), a former naval officer and superhuman bodyguard with mysteries of his own, particularly concerning his cold heart.

As the controversy surrounding Yun’s affordable, “blood free” meat jeopardizes political and corporate interests across South Korea and endangers her life, she and Woo are inexorably drawn together, facing both romantic and tragic implications. Lee Soo-yeon, the genius behind the criminally underappreciated series “Stranger” (available on Netflix), seems to have found her footing again with this production. Although the intention behind the fun elements isn’t always apparent, “Blood Free” offers a delightfully absurd and engaging sci-fi bodyguard thriller.

Live (Tubi, CJ ENM Selects—accessible via Prime Video, including a 7-day free trial)

In a different yet readable way:

K-dramas often idealize the police force without much depth, but the series Live offers a more intricate portrayal. It focuses on young individuals transitioning from a tough job market to become police officers under the guidance of Bae Sung-woo as their problematic instructor Oh Yang-chon. The initial 30 minutes of Live are quite poor, so be prepared for an initially bumpy ride before the series finds its rhythm. After this rough start, the show offers a relatively honest depiction of the flaws in authority and the ethical consequences of power. Despite this, it also includes all the familiar elements of K-dramas, intermittently inserting a romance subplot that may not always seem credible, along with the typical K-drama emotional drama. As a result, Live rises to become one of the best Korean police dramas (not on Netflix) and one of the most underappreciated K-dramas of the past decade.

Rookie Cops (Hulu; Disney+ outside the U.S.)

If you find the previous explanation a bit too academic, Disney’s second Korean original from 2022 titled “Rookie Cops” opts for a more traditional K-drama style (including an unexpected confirmation of the afterlife). In this cheerful and lighthearted romance, Chae Soo-bin as Ko Eun-kang enrolls in Police University—which seems unlikely to exist—in pursuit of her first love. However, upon arrival, she realizes that there are multiple boys in the world. If the romantic subplot in “Live” seemed forced, perhaps due to K-drama conventions, here the police storyline serves merely as a means to bring K-drama characters closer together. This might sound like criticism, but “Rookie Cops” is surprisingly engaging as a police procedural, even if that aspect isn’t the primary focus. It may not have profound insights about the police, but it certainly provides entertainment.

Argon (Tubi, CJ ENM Selects—accessible via Prime Video, including a 7-day free trial)

In a world where truthfulness is questionable and journalism is undergoing extraordinary difficulties due to corporate manipulation and political corruption, the final drama produced by Kim Ju-hyeok before his untimely death in 2017 serves as a poignant reminder of the impactful nature of quality Korean dramas. It also provides a glimpse into an idealized portrayal of journalism, which now seems almost dreamlike. The character HBC intern Lee Yeon-hwa (played by Chun Woo-hee) is reassigned to Kim Baek-jin (Kim), who heads the struggling investigative program Argon. Kim’s relentless pursuit of truth has stalled his career, as he clashes with his network’s corrupt management and their influential allies. However, when a prestigious anchor role becomes vacant within the network, and as he gradually molds Yeon-hwa into his moral successor, he begins to realize the extent of the corruption within his city and his own network. If you sense echoes of the 2015 film “Spotlight”, that’s no coincidence. Unlike many dramas, “Argon” shuns romance in favor of portraying journalists as something other than unscrupulous individuals. This tragic reflection of Kim’s career and promising glimpse into Chun’s future is a rare Korean depiction of journalists as anything but morally compromised.

Soundtrack #2 (Disney+)

Let’s shift gears from the boisterous beginning in “Moving”; let’s conclude with something subtler instead. The term “hidden gem” might seem overused given how accessible media has become nowadays, but there is a grain of truth to it when considering the reluctance of streaming platforms to promote non-English content in the U.S. Nestled deep within Disney+’s library and unfortunately launched amidst the hype surrounding “Moving”, the 2023 series “Soundtrack #2” stands as a self-contained sequel that surpasses its precursor, 2022’s “Soundtrack #1”, in every aspect. The story revolves around Keum Sae-rok’s character, Do Hyun-seo, who is a music enthusiast grappling with finding her passion again, and she gets this opportunity in more ways than one when she takes up the role of a piano tutor for her ex-boyfriend Ji Su-ho (Noh Sang-hyun), a YouTube sensation. However, their past might pose an obstacle to their rekindled romance. As expected in a K-drama, their history will undoubtedly complicate matters further. “Soundtrack #2” manages to pack a significant emotional punch within its six episodes, even though it may not be the most unique K-drama out there; it provides an excellent introduction for those new to the world of K-dramas.

2025-08-01 18:06