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A New Era of Summer Entertainment: OTT Dominance and the Rise of “Low Life”
The 1970s are making a comeback in the world of entertainment, with retro fashion and oceanic adventures taking center stage. This is the setting for the new series Low Life, which follows a group of individuals chasing the dream of discovering sunken shipwrecks. Created by Kang Yoon-sung, known for his work on The Outlaws, this Disney+ production features Ryu Seung-ryong, Im Soo-jung, and Kim Eui-sung. Since its release of three episodes on July 16, the show has been hailed as a “blockbuster of the summer.”
As the digital landscape continues to evolve, South Korea’s summer entertainment scene is witnessing intense competition among over-the-top (OTT) platforms. Unlike previous years, where theatrical releases dominated the spotlight, this season has seen a shift. The rivalry has moved online, with OTT services offering a wide array of thriller, action, and hero films. Even Ma Dong-seok, who previously captivated audiences in The Outlaws, has chosen to explore new projects through streaming platforms.
Low Life draws comparisons to the 2023 film Smugglers. Both are produced by the same director, and their characters share a common goal: to uncover treasures from the depths of the ocean. When news spreads about a massive trade ship carrying 20,000 pieces of porcelain that sank off the coast of Sinan, South Jeolla, in 1323, a race begins. The series captures the essence of the 1970s with details like Ryu Seung-ryong’s flappy pants, Yang Se-jong’s long hair, and Im Soo-jung’s role as a wife.
This summer promises an epic battle of entertainment options. Netflix kicked off the season with Squid Game: Season 3, while the suspense thriller Wall to Wall is set to premiere on July 18. It explores the horror of living in close proximity to neighbors within apartment complexes. On July 25, Trigger, a high-budget crime action thriller, will debut. Known for its extravagant production costs, it features Kim Nam-gil as a sniper in a dystopian version of South Korea.
Wall to Wall brings together actors Kang Ha-neul, Yeom Hye-ran, and Seo Hyun-woo. The story follows a protagonist who moves into an apartment after losing everything. As strange occurrences unfold between the floors, he must find a way to maintain his sanity. Meanwhile, Trigger delves into a world where gun violence is a reality, highlighting the challenges faced by society.
Another notable release is Twelve, a hero series starring Ma Dong-seok and Sung Dong-il, set to premiere in August on Disney+. It tells the story of Korea’s traditional zodiac signs, blending cultural elements with modern storytelling.
While the saying “quality over quantity” remains relevant, theatrical releases seem to be struggling against the dominance of OTT platforms. The production scale and star power of these streaming services have made them a preferred choice for many viewers. This year’s theatrical lineup includes only a few confirmed releases, such as Omniscient Reader: The Prophecy, My Daughter is A Zombie, and Pretty Crazy. Compared to last year’s impressive list of films, this season feels less vibrant.
The absence of major theatrical releases has been filled by Hollywood blockbusters. However, some critics argue that the decline began after the pandemic forced many films to delay their releases. Cultural analyst Kim Hun-sik explains, “Many films delayed during the pandemic were finally released near its end. However, the two to three-year delay led to criticism that they were ‘out of touch’ and ‘not trendy.’ Viewers found the overlapping storylines with OTT productions predictable and unexciting.”
The aftermath of this situation has resulted in reduced investment and momentum for new film projects. Many filmmakers and actors have shifted their focus to platforms like Netflix, leaving a noticeable gap in compelling theatrical releases.
In the film industry, concerns are growing about the shift of original demand from theaters to streaming services. While blockbusters continue to attract attention, there is a growing call for well-made films with reasonable budgets. Film critic Kim Heon-shik highlights the success of Noise, a horror film released in June with a small budget. Despite its modest production, it has already broken even and is holding strong against Hollywood blockbusters.
As the entertainment landscape continues to evolve, the balance between quality and accessibility remains a key challenge. With the rise of OTT platforms, the future of cinema may depend on how effectively filmmakers can adapt to changing audience preferences.
