Each episode will be a 30-minute romance anthology.
The project is designed to discover new talent and to show a wide spectrum of love.
The first broadcast is scheduled for December 14, 2025.
"Short but vivid loves" — KBS asks again what one-act drama can do
Carrying on a tradition.
Since its debut in 1984, one-act drama has been a testing ground for broadcasters and a pipeline for new talent.
Many directors, actors, and writers found early opportunities through single-episode works.
However, viewing habits and platforms have shifted, and the space for one-act shows has shrunk.
In that context, "Love : Track" tries both to inherit a tradition and to adapt to change.
A new opportunity.
Short dramas can leave a strong impression.
Brief narratives remove excess scenes and focus on core emotions.
Therefore, the skill of writers and directors becomes decisive.
For newcomers, a single episode is a prime chance to present a distinctive style.
It embraces diversity.
The intent is clear.
The goal is to widen the spectrum of love and include many voices.
This has real social meaning.
In particular, addressing single life and minority relationships connects to the public broadcaster's civic duties (the responsibilities of a public broadcaster).
A stage for new talent.
Supporters point to talent discovery as the biggest advantage.
Short runtimes reduce production risk and allow varied experiments.
Thus, young creators can more easily show their colors.
In addition, there is room to test indie sensibilities and experimental formats.
Shortness is a strength.
This format also matches busy viewers' habits.
Compared with long serials, it lowers the entry barrier and gives a complete emotional arc in one sitting.
Additionally, short clips travel easily online, aiding marketing and spread.
On the other hand, short length can raise worries about lack of depth.
Concerns remain.
Critics point to a shortage of depth as a main problem.
They argue that complex emotional arcs or social contexts are hard to develop persuasively within half an hour.
Especially, portraying inner changes or institutional stories often needs more time.
Another practical worry is commercial viability.
Commerciality and sustainability.
Public broadcasters must perform a civic role, yet they face budget and scheduling realities.
Low ratings reduce ad income, which directly threatens a program's continuity.
If a series ends after a single season or faces repeated cuts, the ecosystem that nurtures newcomers could weaken.
How to address these structural risks is the key question.
Cases point to possibility.
Global platforms like Netflix show short-form successes.
Meanwhile, broadcasters have produced one-acts that gained critical praise and loyal fandoms.
These examples suggest that marketing and platform partnerships make a difference.
Therefore, "Love : Track" will succeed only if production and distribution strategies align.
Causes and context.
First, shifts in media consumption are a major cause.
Viewers now prefer short, powerful content.
However, the public broadcaster's identity means this is not merely trend-chasing.
Long-term goals—spreading public messages and supporting diversity—are also in play.
Social meaning is significant.
When a public broadcaster tells stories of marginalized people, it performs a civic duty rather than only an artistic choice.
Highlighting realistic themes—family, work, parenting—can widen empathy.
Also, online distribution and educational tie-ins could connect lifelong learning and cultural consumption.
Thus, layered planning requires balancing public value with market realities.
Policy support is needed.
Broadcasters should consider budget allocations and support for independent production companies.
They must secure visibility through platform partnerships and digital marketing.
Public funds or creative funds could share risk.
In addition, programming that reflects viewer feedback is important.
The verdict is open.
In short, "Love : Track" sits between preserving tradition and trying something new.
Supporters cite talent discovery, greater diversity, and short-form strengths.
Critics warn of shallow treatment, weak commercial returns, and sustainability risks.
Ultimately, the result will hinge on how production, distribution, and policy interact.
The conclusion is a question.
There are three main points.
First, discovering new talent and accepting diverse stories are clear values.
Second, the 30-minute limit functions as both advantage and drawback.
Third, financial, institutional, and platform strategies are essential for continuity.
With many perspectives in play, readers' judgment matters.
Do you think KBS's effort will help restore the public broadcaster's role?
