South Korea has never been shy about embracing the future. From hyper-connected cities to cutting-edge beauty tech, innovation is embedded in the country’s cultural DNA. Now, artificial intelligence (AI) is becoming one of its most visible — and intriguing — creative tools, especially in K-dramas.
This shift is not happening quietly. Virtual K-pop idols like Plave are filling concert venues, and AI-assisted films such as Run To The West (2025) are breaking new ground and K-dramas are beginning to reflect the country’s changing relationship with intelligent machines.
What once felt like distant science fiction is now blending seamlessly into everyday stories.
The era of romanticized robots
Before AI became a household technology, K-drama writers used it as a playground for imagination—a way to explore desire, identity, and the blurry boundaries between humanity and machine.
One of the most defining titles of this era was Are You Human? (2018), the drama often credited with launching the “AI romance” boom.
Its premise was pure melodrama: Nam Shin III (Seo Kang-Joon), a lifelike AI robot, must impersonate a comatose heir. The series examines consciousness, emotion, and the possibility that something man-made could understand love better than humans do.

(Are You Human? Official Poster / IMAGE CREDIT: Viki)
Following its success, shows like My Absolute Boyfriend (2019) and My Holo Love (2020) further cemented AI as an ideal partner — perfectly attentive, unwavering in loyalty, and emotionally intuitive in ways real people often aren’t.
These dramas leaned into dreamy escapism and high-concept storytelling, mirroring South Korea’s hopes for a tech-forward future. But that fantasy has slowly given way to something more grounded.
A culture ready for AI — and new K-Drama narratives
South Korea’s rapid adoption of AI has transformed public attitudes, with surveys showing that over 70% of South Koreans express confidence in AI technologies.
That optimism has begun reshaping how AI appears on screen.
Instead of android lovers and tear-filled goodbyes, recent K-dramas are portraying AI as a normal — almost mundane — part of life. The effect is subtle but profound: AI is no longer the star of the show. It’s the environment.
From speculation to startup reality

(Start-Up Official Poster / IMAGE CREDIT: Netflix)
Netflix’s Start-Up (2021) marked a turning point. Set in a fictional Korean Silicon Valley called Sandbox, the show follows young entrepreneurs building a company around an AI handwriting-recognition algorithm.
The series doesn’t romanticize the tech; instead, it highlights the grind of launching a business — late-night coding, investor rejections, and the thrill of product breakthroughs.
AI here isn’t a mysterious force. It’s a tool for ambition, innovation, and upward mobility — values deeply connected to modern Korean society.
A more recent example is Nice To Not Meet You (2025), where fading actor Lim Hyun-joon (Lee Jung-jae) frequently turns to an AI chatbot for everything from love advice to career decisions. The use of AI isn’t treated as extraordinary; it’s simply part of contemporary life, much like messaging apps or navigation tools.
This grounded portrayal reflects what’s happening outside the screen: South Koreans aren’t just imagining AI — they’re living with it.
AI as a mirror of everyday Korean life

South Korea’s relationship with AI has always been a blend of curiosity and confidence. The country’s long-standing commitment to digital progress — fast internet, smart appliances, and tech-driven public services — has created a culture where technological experimentation feels natural.
A 2024 Ipsos survey on AI found that 73% of South Koreans are excited about AI products, one of the highest rates in the world. This openness is influencing storytellers, who increasingly depict AI not as the future but as the present.
For the entertainment industry, this translates into narratives that are less about fantasy and more about familiarity. AI is now a coworker, a business tool, a confidant — a quiet but constant presence.
