KBS2 weekend drama "Last Summer" aired from November 1 to December 7, 2025, and ended after 12 episodes. However, its national average ratings finished in the low 1% range, with the finale registering 1.7%. The series was a quiet, childhood‑friend romance that won some praise for the actors' performances.
“A gentle mood, poor business results”
Quick summary
The core fact is low ratings. The show debuted on November 1, 2025, and ran for 12 episodes. Its premiere drew about 2.7% Nielsen ratings, but most episodes hovered between 1% and 2%. Meanwhile, episode 9 hit the series low at 1.5%, and the final episode closed at 1.7%.
Episodes: 12
Ratings summary: generally 1%–2%, low 1.5%, finale 1.7%
What the show was
"Last Summer" is a nostalgic story about childhood friends who grow into adults and reencounter old feelings. It is a slow‑tempo romance built around familiarity and emotional nuance. The principal cast drew positive notices for steady, controlled performances. On the other hand, the material had limited mainstream reach.
Key points: acting reliability, limited buzz
Ratings and context
Numbers matter. By Nielsen standards (ratings that measure how many people watched), the series closed with a low national average in the 1% range, finishing at 1.7% for the final episode. Most installments stayed in the 1%–2% band. Analysts point to time‑slot competition and audience fragmentation across platforms as contributors.
Artistic assessment
The craft is mixed. Actors and on‑screen chemistry received sincere praise. However, critics and some viewers said the plot lacked striking twists or momentum. Meanwhile, the ending tied up character arcs cleanly, giving the story a sense of completion.
Weaknesses: limited buzz, slow narrative pace
Visuals and tone
Visually, the series kept a restrained palette and calm scene composition that matched its mood. However, the show struggled to break out beyond the screen: promotional reach and word‑of‑mouth were not strong enough to expand its viewer base. In short, wider audience touchpoints remained an unresolved task.
Industry implications
The result highlights the current reality for terrestrial broadcasters. Weekend mini‑series now face tougher tests. With streaming services and online viewing habits spreading, traditional Nielsen ratings capture a shrinking slice of total audience attention. Therefore, broadcasters must rethink scheduling, marketing, and digital integration.
Arguments in favor
There is a clear positive reading. First, in artistic terms the series accomplished what it set out to do: a low‑key romance that preserves emotional tone and offers a satisfying resolution. For a niche audience the show delivered. Moreover, niche titles can build stable, long‑term fandom even without mass breakout success.
Second, from a career perspective the production mattered. Mid‑career and younger actors often need projects where they can develop character work; this show offered that. In addition, successful craft work can translate into future trust from producers and networks. Therefore, it is unfair to reduce the series' value to short‑term ratings alone.
Arguments against
The problems are also straightforward. Low ratings create commercial strain. A 1%–2% Nielsen figure limits advertising and branding value, making it harder to recoup production costs. Consequently, repeated low‑performing titles can tighten funding for future projects.
Furthermore, the failure to create buzz is a strategic shortfall. The series did not secure strong engagement among younger viewers (often measured in the 20–49 demographic), an audience advertisers prize. Weak social media traction, viral moments, and press momentum reduced the show's ability to spread beyond its initial viewers. As a result, it was outperformed by stronger competitors in the same time slot.
Finally, while platform fragmentation is an external factor, it is not an excuse for a lack of integrated digital strategy. When broadcast alone no longer guarantees reach, programming without a solid online plan risks underperformance and may prompt advertisers to redirect spending.
Deeper causes
The explanation is multi‑layered. First, genre and target limits existed: a gentle childhood‑friend romance tends to attract a devoted but narrow audience, making large ratings harder to achieve. Second, marketing and buzz were insufficient. Campaigns did not produce sustained conversation or memorable viral moments.
Third, platform fragmentation changed the playing field: OTT services, on‑demand viewing, and short‑form social video mean that linear TV ratings no longer tell the full story. Therefore, judging a series only by Nielsen ratings has obvious limits. Fourth, scheduling and competing shows also matter and likely influenced audience choice. Finally, some episodes showed pacing issues that prevented strong word‑of‑mouth from developing. These factors interacted to produce the low numbers; no single fix will solve them all.
Fan and online reaction
Reactions were mixed. Some fans praised the actors and the show's emotional completeness. However, viewers looking for sharper plotting or novelty called it ordinary. Media commentaries and online communities frequently questioned the network's scheduling and digital tie‑ins.
Online summaries tended to say, "The premiere was solid but the series failed to rebound." Meanwhile, some data interpretations suggested modest engagement among younger viewers in the 20–49 bracket, though that did not translate into broad ratings gains. In short, web chatter and numeric indicators point in different directions, so a composite view is necessary.
Policy and production lessons
Reassessment is needed. Broadcasters like KBS should review weekend mini‑series strategy. That includes integrating scheduling, marketing, and digital distribution from the start. Production companies must also rethink budget allocation and efficiency to match realistic revenue expectations.
Limits of the data
Use multiple measures. Nielsen ratings are important, but they do not capture online viewing, video‑on‑demand (VOD), or overseas interest. Therefore, evaluations should combine broadcast ratings with streaming, social, and monetization metrics. Internal marketing data and advertiser performance should also be considered.
Conclusion
The bottom line is clear. "Last Summer" achieved some artistic success—steady acting and emotional closure—yet it ended with low Nielsen ratings in the 1% range, finishing at 1.7%. This case illustrates broader industry shifts: scheduling, marketing, and digital strategy must be addressed together in a fragmented viewing landscape.
In short, the show merits recognition for craft but fell short commercially. Stakeholders should reexamine outcomes using multiple indicators and a longer time horizon. What, in your view, should broadcasters and producers fix first in similar cases: programming, marketing, or digital integration?
