The global success of Korean dramas, K-pop, and variety shows has already reshaped the entertainment landscape over the past decade. But according to CJ ENM, the next phase of growth may look a little different — and a little more interconnected.
At the Korea International Streaming Festival (KISF) 2026, held in Busan on June 18, CJ ENM and its affiliates Mnet Plus and Studio Dragon laid out how they see the future of K-content: not just as a collection of hit shows or viral fandoms, but as a broader ecosystem built around content IP, fan platforms, and technology.
For K-drama and K-entertainment fans, the most interesting takeaway may be this: the companies behind some of Korea’s biggest dramas and variety shows are thinking beyond the success of individual titles and focusing instead on how to extend K-content across formats, markets, and platforms.
K-variety is no longer just local entertainment
One of the clearest themes to emerge from the summit was CJ ENM’s view that Korean variety shows are becoming a serious global format business.
During a special KISF session on the global success strategy of K-variety, CJ ENM highlighted how Korean entertainment formats are moving beyond domestic success and becoming exportable IP in their own right. That shift was illustrated through two recent examples: Couple Palace and I Am Boxer.
According to CJ ENM, Couple Palace became the first Korean variety show to win the Gold Award in the Light Entertainment category at the 2025 Venice TV Awards and has since secured remake option agreements in 10 European countries. Meanwhile, I Am Boxer was presented as a case study in how Korean unscripted content can reach international audiences through global streaming platforms, with the show entering Disney+’s Global Top 10 and remaining there for five consecutive weeks after release.
That matters because it signals a broader evolution in how Korean entertainment is being positioned internationally. For years, K-dramas and K-pop have led the Hallyu conversation. CJ ENM’s message at KISF suggests that Korean variety is increasingly being viewed not just as supplementary entertainment, but as a scalable global format business with remake potential, franchise value, and international distribution appeal.
A panelist at the event, Professor Jung-hwan Kim of Korea University, summed up that shift by arguing that Korea is no longer merely adapting overseas entertainment formats — it is now helping define them.
Fan platforms are becoming part of the K-content business model
Another major theme was the growing role of fan-centered digital platforms in the global expansion of Korean entertainment.
Speaking in a KISF session focused on vertical OTT platforms, Kris Park, Chief Revenue Officer of Mnet Plus, described K-pop fandom as something that now extends far beyond simply consuming music videos, performances, or artist content. In his view, global fandom is rapidly expanding into community, commerce, and lifestyle, making fan platforms one of the most important pillars of K-content’s international growth.
That may sound like corporate strategy language, but the underlying point is fairly simple: entertainment companies increasingly see fandom not as a side effect of content success, but as a central part of the business itself.
For international fans, this is already visible in the way official platforms have evolved. What once might have been limited to videos or artist updates is now often tied to membership programs, digital communities, merchandise, ticketing, voting, and exclusive content ecosystems. CJ ENM’s comments suggest that this model will only become more important as Korean entertainment companies continue to build direct relationships with audiences around the world.
While Mnet Plus is rooted in the K-pop side of the business, the broader implication reaches beyond music. It reflects a growing belief within the Korean entertainment industry that the future of K-content is not only about what viewers watch, but also about how they participate in the surrounding fan ecosystem.
Studio Dragon says AI is already entering drama production
For K-drama fans, perhaps the most intriguing section of CJ ENM’s KISF presence came from Studio Dragon, one of the biggest names in Korean drama production.
During a session focused on AI and production innovation, Hyunsuk Seo, head of Studio Dragon’s Tech Innovation Team, said that AI is already being used across the planning and production stages of drama creation to support creators and improve efficiency. He described AI not simply as a convenience tool, but as a technology that is beginning to reshape the production process itself.
That does not mean AI is writing entire dramas on its own, nor did the presentation suggest anything quite that dramatic. But it does indicate that one of Korea’s top drama studios sees AI as increasingly relevant behind the scenes — whether in planning support, production workflows, or internal process innovation.
For fans, this is the part of the story that may be worth watching most closely over the next few years. K-dramas are already known for their polished visuals, fast production cycles, and intense competition for attention on both domestic and global streaming platforms. If AI tools begin to play a larger role in helping studios plan, organize, or streamline production, that could gradually shape how dramas are made even if the end result remains firmly driven by human writers, directors, and production teams.
In other words, while the creative heart of K-drama still belongs to the people making it, the tools supporting that work may be changing.
Beyond hit shows: CJ ENM’s bigger picture for K-content
Taken together, CJ ENM’s KISF 2026 messaging points to a broader strategic shift in how major Korean entertainment companies are framing the future of Hallyu.
The company’s core argument is that the next stage of K-content growth will not come from one breakout title at a time. Instead, it will come from building a stronger system around that content: creating IP that can travel across borders, developing platforms that keep fans engaged beyond the screen, and adopting technologies that make production more scalable and efficient.
For CJ ENM, that means thinking about variety shows as global format IP, fan platforms as international infrastructure, and AI as part of the production toolkit. For viewers, it is a useful reminder that the Korean entertainment industry is not standing still. It is actively trying to define what the next version of global K-content looks like.
Whether every part of that vision will play out as neatly as a summit presentation suggests remains to be seen. But as a snapshot of how one of Korea’s biggest entertainment companies is thinking about the future, CJ ENM’s KISF appearance offered a revealing look at where the industry may be headed next.
FAQ: KISF 2026, CJ ENM, and the Future of K-Content
Q. What is KISF 2026?
A. KISF, short for the Korea International Streaming Festival, is one of South Korea’s major streaming and digital content industry events. It brings together broadcasters, production companies, OTT platforms, creators, and technology leaders to discuss the future of streaming, entertainment, and content production.
A. According to Studio Dragon’s presentation at KISF 2026, yes — AI is already being used in parts of the planning and production process to support creators and improve efficiency. Based on the company’s comments, the emphasis appears to be on AI as a production-support tool rather than a replacement for writers, directors, or other creative teams.
Source
This article is based on CJ ENM’s June 2026 coverage of its participation in the Korea International Streaming Festival (KISF) 2026, including comments from executives and creators at CJ ENM, Mnet Plus, and Studio Dragon.