By Siti Muinah 
The highly anticipated return of veteran actress Lee Min Jung to the small screen has come to a quiet conclusion, as her latest project, OK! Let’s Get Divorced, failed to capture the attention of the domestic viewing audience. On September 24, the final episode of the series aired across the cable networks KBS Drama and GTV, marking the end of a production that struggled to gain any significant momentum in the competitive South Korean television landscape. According to data provided by viewership tracking agencies, the finale recorded a rating of 0.3%, a figure that encapsulates the drama’s entire broadcast run, which never managed to break out of the 0% range. For a star of Lee Min Jung’s caliber, whose previous works have often been synonymous with high viewership and cultural impact, the statistical performance of this series represents a stark departure from past successes.
Statistical Overview and Ratings Analysis
The viewership trajectory for OK! Let’s Get Divorced remained remarkably flat from its premiere to its conclusion. While many dramas experience a "premiere boost" or a "finale surge," this production remained stagnant within a narrow margin of 0.1% to 0.4%. The final episode’s 0.3% rating is particularly telling when contrasted with the broader industry standard for successful cable dramas, which typically aim for a minimum of 2% to 3% to be considered commercially viable.
The failure to surpass the 1% threshold is a significant data point for industry analysts. In the current South Korean media environment, viewership is increasingly fragmented due to the rise of Over-the-Top (OTT) platforms such as Netflix, Disney+, and Coupang Play. However, even within the niche market of subsidiary cable channels like KBS Drama, the presence of a top-tier actress usually guarantees a higher baseline of engagement. The consistent 0% rating suggests that the drama failed not only to attract the general public but also to retain the dedicated fanbases of its lead actors.
Narrative Conclusion and Final Episode Recap
The finale of OK! Let’s Get Divorced attempted to provide a realistic yet hopeful resolution to the tumultuous relationship between the lead characters. Baek Mi Young, portrayed by Lee Min Jung, and Ji Won Ho, played by Kim Ji Seok, finally reached a definitive end to their legal and emotional battles. The central conflict of the series—a married couple who co-own a wedding dress boutique while navigating the dissolution of their marriage—reached its climax through a series of revelations regarding their shared past.
A pivotal moment in the final episode involved the uncovering of a long-held secret regarding a miscarriage that occurred three years prior to the events of the show. Through a letter left by Won Ho, Mi Young discovered the depth of his perspective on the tragedy, which had served as a silent wedge between them for years. This revelation allowed for a moment of catharsis, leading Mi Young to accept Won Ho’s request for divorce not out of spite, but as a mutual agreement to support one another’s individual futures.
The resolution also addressed the pragmatic aspects of their separation, specifically the division of assets and the management of their business. Despite initial clashes over who would retain control of the wedding dress company, a compromise was reached. Won Ho insisted that Mi Young take charge of the brand they built together, a proposal she eventually accepted after realizing the importance of preserving their professional legacy. The episode concluded with a one-year time jump, showing Mi Young successfully running the company. In a final twist, Won Ho reappeared as an applicant for a designer position, suggesting that while their romantic chapter had closed, their professional and personal respect for one another remained intact.
Background and Context of Lee Min Jung’s Return
The lukewarm reception of OK! Let’s Get Divorced is particularly noteworthy given the context of Lee Min Jung’s career. This project marked her first lead role in a television drama in approximately six years. Her last major television appearance was in the 2020 KBS2 weekend drama Once Again, a massive hit that saw ratings soar to as high as 37%. Given that Once Again solidified her status as a "ratings queen" capable of leading long-form family dramas, the industry had high expectations for her next move.
Lee Min Jung, who rose to pan-Asian fame through her role in the 2009 sensation Boys Over Flowers and later starred in hits like Cunning Single Lady and Big, has maintained a high public profile despite her hiatus from acting. Her marriage to global superstar Lee Byung Hun and her active presence on social media have kept her in the public eye. Consequently, her decision to return via a niche cable channel like KBS Drama, rather than a major terrestrial network (KBS2, SBS, MBC) or a powerhouse cable channel (tvN, JTBC), was seen as a strategic choice to focus on character-driven storytelling over mass-market appeal. However, the resulting 0.3% rating suggests that the project may have been too niche or lacked the promotional backing necessary to reach her traditional audience.
Comparative Performance and Industry Implications
The performance of OK! Let’s Get Divorced highlights a growing divide in the South Korean broadcasting industry. While terrestrial networks and major cable channels continue to dominate the "live" viewing charts, subsidiary channels often struggle to find an identity. KBS Drama, primarily known for airing reruns of popular KBS2 shows, faced an uphill battle in establishing this series as a "must-watch" original production.
Industry experts suggest several factors may have contributed to the low ratings:
- Platform Limitations: Airing on a subsidiary cable channel significantly limits the potential reach compared to a primetime slot on a national broadcaster.
- Genre Saturation: The "divorce and reconciliation" trope is a staple of South Korean dramas. With recent high-budget hits like Queen of Tears and The World of the Married exploring similar themes with higher production values, OK! Let’s Get Divorced may have struggled to offer a unique hook.
- Marketing and Distribution: The lack of aggressive marketing campaigns and limited availability on global streaming platforms during its initial run may have hindered the drama’s ability to generate buzz.
Actor Responses and Future Outlook
While official statements from the production companies regarding the ratings have been minimal, the cast and crew have expressed their dedication to the project. Kim Ji Seok, known for his versatile roles in Another Miss Oh and When the Camellia Blooms, provided a steady performance alongside Lee Min Jung. His portrayal of a husband grappling with grief and professional failure was praised by the small but dedicated viewership for its emotional nuance.
For Lee Min Jung, this project serves as a reminder of the volatility of the modern television market. Despite the disappointing numbers, her performance was generally well-received by critics, who noted her ability to portray a sophisticated, professional woman navigating personal turmoil. It is expected that her next career move will involve a more mainstream platform or a high-profile OTT original series to recalibrate her commercial standing.
Broader Impact on the K-Drama Market
The "0% rating" phenomenon is becoming an increasingly common topic of discussion among South Korean media critics. It raises questions about the viability of traditional rating systems in an era where "clips" on YouTube and TikTok often garner millions of views while the full episodes struggle to attract live viewers. However, for advertisers and production houses, the 0% mark remains a psychological and financial barrier.
The conclusion of OK! Let’s Get Divorced marks a somber end to a comeback that promised much more. As the industry moves forward, this case study will likely be used to analyze the importance of platform selection and the necessity of evolving traditional narrative tropes to meet the changing tastes of a globalized audience. While the drama did not achieve commercial success, it provided a platform for Lee Min Jung to demonstrate her continued range as an actress, ensuring that despite this setback, her future in the industry remains a point of interest for fans and producers alike.
In the final analysis, the story of Baek Mi Young and Ji Won Ho—much like the drama itself—was one of quiet resilience and the recognition of an end. As they shook hands and chose to move forward separately, the production also closes its doors, leaving behind a record of the challenges faced by even the most established stars in an ever-shifting media landscape.
