ENA's Legal Drama Gambit: Can 'Honour' Break the Courtroom Curse?

Korean legal dramas have a peculiar problem: they're either massive hits or spectacular misses, with little middle ground. Now ENA is rolling the dice again with Honour, a 12-episode adaptation of a Swedish thriller that promises to blend courtroom drama with mystery elements.

The series features Lee Na-young and Jung Eun-chae in what appears to be ENA's latest attempt to carve out its niche in Korea's increasingly crowded drama landscape. But here's what makes this particularly interesting: it's an adaptation of foreign source material, a strategy that's becoming more common as Korean broadcasters look beyond domestic storytelling traditions.

The Swedish Connection

Honour isn't just another legal drama dreamed up in a Seoul writers' room. It's based on a Swedish series, which immediately raises questions about cultural translation. Swedish crime and legal thrillers have found global success—think The Girl with the Dragon Tattoo or Wallander—but they're built on Nordic sensibilities that don't always translate smoothly to Korean audiences.

The original Swedish version dealt with themes of justice, institutional corruption, and moral ambiguity in ways that reflect Scandinavian social values. How ENA adapts these elements for Korean viewers, who have different expectations about legal systems and workplace hierarchies, could determine whether this gamble pays off.

What's particularly intriguing is the timing. Legal dramas in Korea have had mixed success recently, with some achieving cult status while others disappeared without a trace. The genre requires a delicate balance between procedural accuracy and entertainment value—something that's even trickier when working with foreign source material.

ENA's Strategic Positioning

For ENA, this represents more than just another drama slot. The broadcaster has been positioning itself as a premium alternative to the big three networks, often taking creative risks that KBS, MBC, and SBS might avoid. Previous successes have come from character-driven narratives rather than high-concept adaptations.

The choice to go with a legal thriller suggests ENA is betting on workplace dramas with procedural elements—a genre that's proven successful internationally but remains challenging in the Korean market. The Monday-Tuesday time slot also indicates confidence; it's prime real estate that suggests the network believes this could be a flagship series.

Lee Na-young's involvement adds another layer of intrigue. Her return to television after focusing on films signals that the project has serious backing and creative ambition. Paired with Jung Eun-chae, known for her versatility across genres, the casting suggests ENA is prioritizing acting credibility over pure star power.

The Global Streaming Question

Perhaps most tellingly, the global streaming platform remains "TBD"—to be determined. In an era where international distribution often drives production decisions, this uncertainty suggests either ongoing negotiations or a focus on domestic success first.

This approach contrasts sharply with productions that are designed from the ground up for global audiences. It might indicate that ENA is prioritizing authentic Korean storytelling over international appeal, even when working with foreign source material.

The streaming question also reflects broader industry tensions about how much Korean content should be shaped by global market demands versus domestic preferences. Legal dramas, in particular, face this challenge because legal systems and courtroom procedures vary dramatically between countries.