From script to streaming hit: why Studio Dragon’s ‘Queen of Tears’ keeps trending

Edited by ad hoc news Flagship & Bestseller Desk. Reviewed before publication on 06/15/2026 at 7:38 PM ET. Details in the imprint.

Romance melodrama “Queen of Tears” has become Studio Dragon’s standout global hit of 2024, riding sustained buzz on Netflix and social media well beyond its finale. The series pairs Kim Soo-hyun and Kim Ji-won as an estranged chaebol couple whose failing marriage becomes the emotional engine for a story that blends luxury visuals, family intrigue and classic K-drama catharsis.

What Studio Dragon’s flagship drama delivers on screen

Produced by Studio Dragon and tvN, “Queen of Tears” originally aired in South Korea from March to April 2024 in a 16-episode run, with Netflix carrying the series internationally as a licensed title in most major territories. According to Korean broadcaster tvN, the final episode reached nationwide ratings above 20 percent, making it one of the highest-rated cable dramas in Korean TV history and underscoring why the show is now treated as a flagship title in Studio Dragon’s portfolio. Industry coverage of tvN’s rating data highlights how the finale set a new record for the channel’s weekend drama slot.

The premise centers on Hong Hae-in (Kim Ji-won), an heiress to a chaebol retail empire, and her husband Baek Hyun-woo (Kim Soo-hyun), a lawyer from a rural background who marries into the powerful family and later files for divorce. Across its episodes, “Queen of Tears” leans into the contrast between glossy department-store boardrooms and the modest village where Hyun-woo grew up, using that visual and social divide to frame questions around class, loyalty and personal sacrifice. Viewers see both the high-pressure environment of a conglomerate succession battle and the emotional fallout inside a marriage where love is buried beneath resentment and misunderstandings.

In production terms, Studio Dragon positioned “Queen of Tears” as a big-budget tentpole. South Korean media reported that Kim Soo-hyun’s appearance fee alone set a new benchmark for drama salaries, signaling the premium nature of the project and the company’s willingness to invest heavily in top-tier talent. The series was scripted by Park Ji-eun, known for earlier global hits such as “Crash Landing on You”, and directed by Jang Young-woo and Kim Hee-won, both with prior experience in high-profile cable dramas. That combination of star writer, star cast and polished direction is visible in the show’s elaborate set pieces, from corporate shareholder meetings to lavish family gatherings, which help justify its positioning as a flagship release.

Outside Korea, Netflix has been the primary distribution channel, serving the series to subscribers in North America, Europe and large parts of Asia. While Netflix does not disclose minute-by-minute audience numbers by title in all markets, “Queen of Tears” has consistently featured on the platform’s weekly non-English TV top 10 lists, reflecting sustained viewing momentum across multiple regions. The show’s mix of romance, melodrama and corporate intrigue aligns closely with the platform’s established K-drama audience, and Studio Dragon’s existing relationship with Netflix as a content supplier has likely smoothed international marketing and subtitling workflows.

Thematically, the drama combines familiar K-romance beats with a heavy focus on illness, regret and second chances. As Hong Hae-in is diagnosed with a serious medical condition, the couple’s divorce plans collide with the reality that time together may be limited. This setup gives the second half of the series a more overtly emotional rhythm, with extended flashbacks and family reconciliations that are designed to land with viewers who expect catharsis as much as plot twists. At the same time, side characters dealing with inheritance, business sabotage and personal growth broaden the narrative beyond the central couple, providing enough subplot density to sustain a 16-episode structure.

Market observers in South Korea have highlighted “Queen of Tears” as an example of how Studio Dragon continues to monetize high-end scripted content through a mix of domestic broadcasting rights, global licensing and downstream revenues such as format sales or remakes. The series strengthens Studio Dragon’s long-running partnership with tvN’s parent CJ ENM while also reinforcing Netflix’s dependence on Korean originals and licensed works to drive non-English-language viewing hours. That dynamic matters not only for Studio Dragon’s near-term royalty and production income but also for its bargaining position in negotiating future multi-title deals with global streaming platforms.

From a corporate perspective, “Queen of Tears” fits into Studio Dragon’s strategy of building exportable intellectual property that can live beyond its initial broadcast via streaming, merchandising and potential spin-offs or remakes. The company describes itself as a drama “studio system” that plans, finances and produces scripted series for both local channels and global partners. Studio Dragon’s own corporate overview emphasizes its focus on premium storytelling and a development pipeline aimed at international audiences, and “Queen of Tears” is a clear showcase of that approach in practice.

For equity investors, the scale and visibility of hits like “Queen of Tears” are relevant primarily as indicators of Studio Dragon’s content library value and its ability to command favorable terms from broadcasters and streamers. Shares of Studio Dragon (KR7253450009) closed on the Korea Exchange at KRW 53,500 on 06/13/2026, reflecting how the market currently prices the company’s drama pipeline, existing catalog and partnership structure with global platforms. Market data from the Korea Exchange cited by local financial media provides the latest confirmation of that closing level. Recent KRX equity listings data shows Studio Dragon trading in Seoul under its domestic ticker.

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