K-Drama Ratings Wrap: Spring Fever and Judge Returns End Strong Despite Holiday Disruption

15.2% and 12.8%—these weren't just numbers on a ratings chart. They represented the final bow for two beloved K-dramas that managed to capture hearts even during one of Korea's most family-focused holiday periods, when viewers typically tune out for traditional celebrations.

When Holidays Meet Peak Drama

The week of February 9-15, 2026 presented a perfect storm for Korean television. Lunar New Year festivities coincided with ongoing Winter Olympics coverage, creating a viewing landscape that would typically spell disaster for regular programming. Yet Spring Fever and The Judge Returns defied expectations, delivering their strongest performances just as they said goodbye.

Spring Fever peaked at 15.2% for its finale—remarkable for a romance series airing during prime family viewing time. Meanwhile, The Judge Returns maintained steady momentum with 12.8%, proving that legal dramas can hold their ground even against holiday programming disruption.

The success becomes more intriguing when you consider that several other series chose to go dark during the holiday period. No Tail to Tell, for instance, saw its momentum disrupted by scheduling changes, highlighting how precarious the current broadcast landscape has become.

Global Implications of Local Success

These ratings carry weight far beyond Korean living rooms. As K-drama exports have exploded globally, domestic viewership has become a crucial predictor of international success. Spring Fever's strong finale performance coincided with its climb up Netflix and Disney+ charts across Southeast Asia and Latin America.

Industry insiders note that dramas maintaining audience loyalty through major cultural holidays demonstrate exceptional content strength—exactly what global distributors look for when making acquisition decisions. "When viewers choose your drama over family time and Olympic coverage, you know you've created something special," explains one broadcast executive.

This connection between domestic ratings and global potential has transformed how Korean production houses approach content creation. Shows aren't just made for Korean audiences anymore; they're crafted with one eye on Gangnam and another on São Paulo.

The Changing Viewing Ecosystem

Yet the February ratings tell a more complex story about Korean television's evolution. Traditional broadcast metrics increasingly compete with streaming data, international viewership, and social media engagement for relevance. Young Korean viewers, in particular, have largely migrated to on-demand platforms, making real-time ratings less representative of actual popularity.

Major production houses like CJ ENM and JTBC Studio have adapted by embracing multi-platform strategies. They're simultaneously serving traditional broadcasters, domestic streaming services, and international distributors—hedging bets across an increasingly fragmented media landscape.

The holiday viewing patterns also revealed generational divides. While older viewers stuck with linear broadcasts during family gatherings, younger demographics continued consuming content through mobile devices and catch-up services, creating parallel viewing universes that traditional metrics struggle to capture.