Once considered the highest honor for actors and a celebratory finale for moviegoers to end the year, the annual Drama Awards have become increasingly like internal company events. As audience attention shifts to OTT platforms and different media, terrestrial dramas have struggled to gain the same level of cultural impact they once had.
Despite broadcasters’ continued efforts to produce diverse content and update awards formats, the 2025 ceremonies have failed to escape criticism for their lack of presence and enthusiasm. The main problem, many argue, is the absence of a truly dominant hit drama that audiences of all stripes could agree deserve top marks.
At the 2025 MBC Drama Awards, which aired on December 30, 2025, the Daesang (Grand Prize) went to Seo Kang Joon for Undercover high schooloriginally aired in February 2025. Given that MBC failed to produce a single drama that surpassed double-digit ratings all year, the decision raised eyebrows. Seo Kang Joon himself admitted on stage that he felt more surprised than joyful, an honest reaction that reflected the audience’s mixed feelings. While his humility was appreciated, the moment underlined how far the awards have strayed from the era of nationally beloved dramas that defined past generations.
The next day, the 2025 KBS Drama Awards opted for what many considered the safer but less impactful choice: a shared Grand Prix. Ahn Jae Wook and Uhm Ji Won were jointly awarded For the Aquila brothersa weekend drama that aired for six months starting in February 2025. Although the series reached a respectable ratings peak of 21.9%, it had already concluded well before the awards, and critics questioned whether it truly stood out compared to traditional weekend dramas. While joint awards can be interpreted as equal recognition, they also risk diluting the prestige of the highest honor, reinforcing the perception that no single performance or production is clearly superior to the others.
SBS fared slightly better at the 2025 SBS Drama Awards, thanks to the strength of an established franchise. Lee Je Hoon claimed the Daesang Taxi driver 3marking his second Grand Prix win for the series after 2023. With the final season drawing ratings as high as 14%, the award was largely uncontested and showcased both Lee Je Hoon’s acting prowess and the enduring power of Taxi driver IP. However, from a broadcaster’s point of view, the reliance on tried and tested series rather than new blockbuster hits has prompted criticism that SBS is also leaning heavily on safe bets.
The concerns extended beyond the top prizes. SBS has faced backlash for what some have described as “participation-style” trophies, with an unusually large number of winners. Eight recipients each were announced for the Best New Actor and Best Supporting Actor categories, leading to awkward moments where some actors initially didn’t realize they had won, assuming they were simply nominated. Critics have argued that such practices undermine the value of awards, even for the few truly successful productions.
To be fair, terrestrial broadcasters operate under increasingly challenging conditions, facing skyrocketing production costs and stiff competition from OTT platforms. Judging dramas across different genres and formats also makes definitive comparisons difficult. However, for the Drama Awards to move beyond their symbolic year-end closing function and reclaim their role as significant cultural events, broadcasters must reconsider not only how to produce compelling hits, but also whether their awards criteria resonate with viewers.
Awards that confuse audiences and even embarrass recipients risk diminishing the hard work of actors and production teams. As another year draws to a close, the question remains: will future theater awards once again offer moments that truly move both those watching and those on stage?
Sources: Daum
