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The entry of international SVODs into the Korean broadcasting industry since 2016 has altered the genres, quality, and sheer scale of K-drama, arguably creating a new type of television that no longer possesses the characteristics that have so far defined K-drama. Though overshadowed by this new phenomenon, K-drama’s representative genres have been evolving to stay afloat in the rapidly changing terrain of globalized K-drama. My article explores this unheeded development by examining what has historically been the most typical K-drama genre, the romance genre – what I call the 'K-romance.' Through the case of  Crash Landing on You  (2019), the article elucidates three methods adopted by the K-romance. First, representative tropes of K-romances are savvily updated to align with the post-feminist audience’s values, allowing the genre to appear ‘woke’ in the face of global viewership. Second, intertextual references to other K-dramas play a crucial role in conversing with fans within the text, thereby securing their fanbase against a plethora of fresher materials. Third, the tactics of Korean cinema from two decades ago are employed to facilitate K-drama’s ‘glocalisation,’ namely by inserting Korean history into their narratives and applying cinematic (national) visuals into what has so far been a visually simple genre.

K-Drama 2.0: updating tropes with intertextuality and cinematic visuals in Crash Landing on You