Q&A: CJ ENM’s Sebastian Kim

From Oscar-winning films to K-pop, K-dramas to musicals, CJ ENM has been at the forefront of Korean entertainment and popular culture. Its commitment to finding original stories and voices has allowed the company to sell movies, TV series and formats not only across Asia but also to the rest of the world. Sebastian Kim, VP of international content distribution, talks to World Screen about the international appeal of its varied scripted and unscripted shows and how strategic partnerships are helping CJ ENM bolster its distribution.

WS: What programming genres have been selling the most internationally lately?
KIM: As a leading entertainment company, CJ ENM provides a wide array of scripted titles with various genres, and it’s definitely hard to say a specific genre that’s been sold the most internationally, since every story resonates differently with the viewers. Nevertheless, the romantic comedy genre, combined with fantasy elements, has been a “steady seller” until now, with its comprehensible narrative development and heartwarming chemistry between the cast. Our recent titles, such as Bon Appétit, Your Majesty; Head Over Heels; and My Dearest Nemesis have demonstrated how this genre can captivate international viewers’ attention with record-breaking results.

In the meantime, we do have “non-rom-com” titles that have also been successful. Study Group, which aired in January this year, entered the top five in 147 countries, as did Law and the City, a law firm and office-genre TV series that also entered the top five in 144 countries.
As a global IP powerhouse, CJ ENM will constantly strive to deliver diverse genres of K-dramas for our global fans from multiple backgrounds.

WS: What is CJ ENM’s strategy for increasing the worldwide distribution of its programming?
KIM: First, we strengthen our presence through local broadcasters and OTT partnerships across key regions. We maintain an active pipeline with Netflix and Prime Video, supported by several recent top ten global performances. In Asia and Southeast Asia, markets where our shows already enjoy strong popularity, we continue to expand long-term distribution while also entering new territories. For example, in India, CJ ENM partnered with MX Player, an Amazon-owned platform, to release a dubbed K-drama package in multiple local languages. In the Middle East, evision’s STARZPLAY is premiering our latest series, Dear X, shortly after its Korean debut. In Mexico, we launched a prime-time K-drama block on Imagen Televisión, complemented by additional deals with leading broadcasters.

Second, we pursue strategic platform alliances that provide branded shelf space and broader regional visibility. A multiyear partnership with Warner Bros. Discovery will bring a dedicated TVING hub to HBO Max across 17 Asia-Pacific markets in 2026, while Disney+ Japan’s TVING Collection offers up to 60 titles to Japanese audiences.

Together, these dual tracks enable CJ ENM to combine global reach with deep local engagement, positioning our content at the center of the global K-content wave.

WS: Do you sell your dramas as they originally air in Korea, or do you offer them as remakes or formats?
KIM: We distribute dramas that are on air, as well as remakes and formats that are feasible to be adapted in other countries. Besides some of the well-acclaimed finished titles available on several streaming platforms, we have some of the most successful formats that have already been remade in multiple countries. Representatively speaking, I Can See Your Voice, a global hit music game-show format, which celebrates its tenth anniversary, has been commissioned in 30 countries, including the U.S., the U.K., Canada, France, Spain and many more.

We also have some scripted titles that are remade in different countries. What’s Wrong with Secretary Kim gained huge success with its Thai and Filipino remakes. Most recently, our mega-hit drama Queen of Tears has also been remade in Turkey in collaboration with O3 Medya and DASS Yapım.

WS: Which of your non-scripted shows have you been selling? What is unique about them?
KIM: Similar to our scripted shows, we do have a wide array of non-scripted shows with different casts and unexpected items. The strength of our non-scripted shows comes from their originality. By combining unique items, our producers commit themselves to providing never-before-seen shows that are fresh and easy to watch. This year, particularly, has been the year of CJ ENM’s non-scripted shows, including Infinite Loop, the monumental co-production project with TBS, and World of Street Woman Fighter, CJ ENM’s mega dance IP and an AACA nominee—made its global debut.

We are genuinely excited about our newest projects—Perfect Glow, in which Korean stars bring K-beauty to life in New York, and I AM BOXER, Korea’s first boxing survival format, led by Don Lee. As they are streaming on Prime Video and Disney+, respectively, our global fans will have eye-opening experiences in the world of CJ ENM’s non-scripted shows.

WS: When selling formats, either scripted or unscripted, how do you work with international channels, streamers or production companies to help them adapt your format to their audiences’ tastes?
KIM: We believe in the significance of maintaining the creative intention of our producers, as it breathes identity into every title. Thus, when producing remakes, our producers are heavily involved in the whole remake process, which begins with continuous communication with the partners.

When the production officially begins, our producers and sales representatives visit the sites occasionally, sharing insights with all the related departments and local producers for the purpose of understanding the individuals’ ideas. Since the balanced unification between the creative intention and the differences derived from different backgrounds is a key factor, despite what may seem an exhausting procedure, we try to commit ourselves 100 percent to creating well-made titles.

WS: Is CJ involved in co-productions? If so, what advantages do co-productions offer? Would you please give some examples?
KIM: As mentioned earlier, Infinite Loop, our landmark co-production project with TBS, has presented the “beauty” of co-production, based on its well-thought-out concept, perfect harmonization between the creators and the solid partnership of CJ ENM and TBS.

Such co-production projects offer us invaluable assets, including the significance of mutual understanding, our creators’ exposure to global markets, and, most importantly, the opportunity for CJ ENM’s creative insights to reach global viewership.

Since we understand that the success elements may differ for each country, co-production opportunities provide us with fresh ideas, elements we should be aware of, and the trend that can create a “craze” among fans.

WS: Regardless of the programming genre, are there certain subjects or themes in CJ ENM programming that have universal appeal?
KIM: Besides the genre, we believe in the power of storytelling. Although it is hard to deny the significance of cast, genre and producers, the most important element is the story, since if the story isn’t attractive enough, then the higher churn rate is inevitable.

As a leading entertainment company at the forefront of storytelling of Korean culture, CJ ENM’s major focus is to bring life, love, thrill and joy through a myriad of stories that can appeal universally.