This Netflix original, adapted from a webtoon, has drawn attention for its fresh premise.
At the 53rd International Emmy Awards it will compete with entries from France, the U.K., and Mexico.
The winners will be announced on November 24 in New York.
Dakgangjeong Aims for Laughter on the World Stage
How the story begins
The premise hits fast and hard.
In 2025 the series Dakgangjeong was named a nominee in the comedy category at the 53rd International Emmy Awards.
The show is based on Park Ji-dok's webtoon of the same name. (A webtoon is a Korean digital comic.)
Its plot follows a father racing to reclaim his daughter after a mysterious machine turns her into dakgangjeong — a Korean sweet-and-spicy fried chicken snack — overnight.
The father’s struggle unfolds as a blend of black comedy and family drama, led by veteran actor Ryu Seung-ryong and Ahn Jae-hong, whose performances set the series’ tone.
Why the International Emmys matter
The International Emmys are a globally recognized stage.
They honor television produced outside the United States (an award for TV made outside the U.S.).
Separate from the Primetime Emmys, the International Emmys act as a benchmark for global TV production standards.
Korean dramas have steadily risen on the international scene in recent years, building reputation and visibility.
The power of the original webtoon
Its strength is concise, bold originality.
Webtoons allow visual invention and narrative experimentation on a scale traditional print might not.
Park Ji-dok's comic threads surreal setups with both humor and sympathy, and the series extends that tone to the screen.
Netflix’s global distribution helped a local, quirky idea reach international viewers.
In favor: the value of international recognition
It raises global standing.
First, an International Emmy nomination signals external recognition of quality.
Streaming platforms like Netflix have increased budgets and technical resources, enabling risk-taking across genres.
In Dakgangjeong, the webtoon’s absurd premise translated into screen rhythm and humor that can resonate beyond Korea, giving judges a sense of universal wit and feeling.
Second, there are economic ripple effects.
Being an international nominee can lead to rights sales, format remakes, and greater visibility for cast and crew.
Webtoon-based works in particular prove the value of original intellectual property (IP), encouraging a virtuous cycle between comic creators and screen producers.
Merchandise, soundtracks, and fashion collaborations are additional revenue streams that often follow.
Third, it signals genre expansion.
Comedy has traditionally been seen as harder to export because humor is culturally specific, but Dakgangjeong’s nomination suggests Korean comedy can cross cultural lines.
This shift encourages creators to explore a broader range of genres and storytelling styles.
Against: the shadow of internationalization
There is pressure from competition.
First, chasing international awards can sway creative choices.
Producers and investors may prioritize projects they think will win abroad, risking dilution of regional specifics or the original voice.
If everyone chases the same formula, creative diversity can suffer.
Second, a gap with domestic audiences can appear.
Adapting to international tastes may lead creators to change localized humor or cultural details, weakening the original charm.
Domestic fans often appreciate oddities and local flavor, which an international strategy might smooth over.
Third, comedy has cultural limits.
Because laughter often depends on language, timing, and small cultural cues, a single judging standard struggles to evaluate every cultural nuance fairly.
A nomination does not guarantee a win or broad acceptance everywhere.
Comparisons and context
Past examples offer lessons.
In 2022 KBS 2TV’s Yeonmo won an International Emmy, showing that a Korean historical drama could claim global attention.
However, nominations do not always translate to wins, and domestic success does not always align with international recognition.
Also, the rise of OTT platforms has created opportunities while shaping an ecosystem that can favor certain formats.
Comparing domestic and international responses reveals patterns.
Local audiences often focus on fidelity to the source, acting, and directing, while international critics prioritize originality, universality, and formal execution.
These differences sometimes lead to divergent interpretations of what a nomination means.
Fans and online reaction
Emotions spread fast online.
Most reactions were positive.
Comments expressed pride in Korean content’s global rise and sent messages of support to the cast and crew.
At the same time, some voices urged caution about the show’s actual chances and raised practical and cultural concerns.
Fandom matters.
On social platforms and forums the nomination sparked renewed viewing and discussion.
While fan buzz doesn’t directly sway international judges, it raises global visibility and helps create conversation around the series.
Policy and industry implications
A strategic approach is needed.
Policymakers and industry leaders should reflect international nominations in cultural and industrial policy.
More sophisticated funding, tax incentives, and protections for creators can help balance commercial success with creative risk-taking.
Training programs for acting, writing, and directing would strengthen the talent pipeline.
Balancing ethics and commercial aims is key.
Rather than forcing works to fit a winning template, incentives should reward projects that preserve local voice while meeting global standards.
This balance supports long-term competitiveness.
Conclusion and outlook
This is a pivotal moment.
Dakgangjeong’s nomination spotlights the potential of webtoon-based Netflix originals on the international stage.
However, international recognition brings both opportunity and challenge.
Creators must balance originality, domestic audience bonds, and industrial strategy.
Sustainability is the core goal.
Instead of chasing short-term wins, the industry should nurture diverse voices and genres.
Only then can Korean content move beyond occasional nominations to sustained leadership in global culture.
Reaching the international stage is the start; the choices after that decide the real victory.
In short, Dakgangjeong’s nomination showcases Korean content’s standing while prompting questions about creative direction and cultural identity.
Stakeholders must weigh these factors to support both artistic diversity and industry longevity.
Where do you stand in this debate?
