Netflix this weekend: 10 best K-dramas for thrillers and rom-coms lovers
Hyun Bin plays a North Korean army officer, and Son Ye-jin is a chaebol heiress who crash-lands in his territory. The show blends romance, politics, and culture clashes.
Directed by Kim Hee-won, this one mixes crime, dark comedy and justice r. Song Joong-ki shines as Vincenzo Cassano, a Korean-Italian consigliere who returns to Seoul and ends up fighting a corrupt corporation from inside a run-down building with wild tenants.
The show stands out for its gorgeous visual style, fairytale symbolism, and how it handles mental health – not in a preachy way, but with empathy and originality. The wardrobe and illustrations? Totally aesthetic.
Created by screenwriter Kim Eun-hee and directed by Kim Seong-hun, Kingdom brings fast-moving zombies into palace politics. Set during a mysterious plague outbreak in Joseon times, it is loaded with suspense, smart twists and brutal survival scenes.
Directed by Shin Won-ho, this slice-of-life medical drama is less about blood and surgery, and more about people. It follows five long-time friends who are now doctors in the same hospital. Their bond, band sessions, and daily chaos hit that perfect balance of comfort and feels.
Song Hye-kyo leads as a woman who survives extreme bullying and waits years to get revenge on her abusers. Highlights include powerful performances and morally grey choices that keep you uncomfortable in a good way.
ALSO READ: Binge-watching K-dramas? Expert says, it's good for mental health
Set in the late '90s and early 2000s Korea, it tells the story of Na Hee-do, a passionate fencer and Baek Yi-jin, a young man rebuilding his life after the IMF crisis. Kim Tae-ri and Nam Joo-hyuk play the leads.
Lead actress Park Eun-bin completely owns the role of Woo Young-woo, an autistic genius lawyer entering a high-pressure law firm. Each episode presents a new legal case that subtly connects to Woo's personal growth.
A fantasy-romance with serious world-building. Set in the fictional land of Daeho, the drama revolves around soul-shifting magic, forbidden love, and ancient energy. Directed by Park Joon-hwa and written by the Hong sisters, it is known for its sword fights and unexpected plot turns.
This horror-thriller follows Cha Hyun-soo (Song Kang) and his neighbors in an apartment complex as people around them start turning into monsters based on their inner desires. This one mixes creature horror with survival drama, loneliness and raw human instincts.
Some of the best Korean thrillers on Netflix include Kingdom, Vincenzo, The Glory, Flower of Evil, Beyond Evil and Sweet Home.
If you are new to K-Dramas, great shows to start with are Crash Landing on You, Extraordinary Attorney Woo, Itaewon Class, Our Beloved Summer and Hospital Playlist.
Netflix has many fun rom-coms like Crash Landing on You, Our Beloved Summer, Business Proposal, Hometown Cha-Cha-Cha and Love to Hate You. These are perfect for light-hearted binge-watching.
Yes, K-Dramas like Vincenzo, Flower of Evil, The Glory, A Time Called You and It's Okay to Not Be Okay mix romance with thriller elements, giving you the best of both genres.
Some K-Dramas trending on Netflix in 2024 include Queen of Tears, The 8 Show, Hierarchy, Parasyte: The Grey and A Killer Paradox. These are fresh, buzzy and getting a lot of love from fans.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Pink Villa
29 minutes ago
- Pink Villa
KPop Demon Hunters: BTS' Jungkook's Soda Pop cover earns BIG reaction from voice of Jinu, ‘Pointed out a mistake…'
KPop Demon Hunters is one of the most viral things to come out of 2025— we're looking at you, nine-toothed dolls— and anyone online would have caught a glimpse of the phenomenon by now. BTS have previously expressed their liking towards the movie, including impromptu covers and dance challenges. With 2 possible sequels and a live-action being eyed for the future of the story, it's unlikely that the connections would die down any time soon. It's no surprise that the stars behind the show have gotten utterly famous, and the man behind Jinu- not Ahn Hyo Seop - but the singer Andrew Choi, have gained a lot of fans. Reacting to Jungkook's cover of one of the songs in the Netflix film, he showered praise on the BTS member. KPop Demon Hunters star calls Jungkook a 'true vocalist' In a video shared by Straits Time Online, Andrew Choi, the 'The thing that I love about Jungkook is that he sings with such ease, which is a sign of a true vocalist. Jungkook's performance is 11 out of 10,' he said while reacting to a song cover of Soda Pop that the BTS member did casually during a livestream. Watching the video further, he noticed how a lyric error in the track was noticed by the K-pop star. 'Jungkook pointed out a mistake in the movie's OST Soda Pop. I didn't even notice it. No one seemed to have noticed it until Jungkook took a listen to it. So thank you, Jungkook, for that.' Moreover, another video showed the singer picking his own version of the Saja Boys lineup in real life. He started off with the BTS maknae Jungkook with his superstar power and all-rounder base, and then moved to another maknae from NCT, Mark, for his rapping skills. He continued by adding Cha Eun Woo for visuals, often believed to be the biggest inspiration for the character of Jinu, especially after his Free OST cover with Arden Cho, the voice actor for Rumi. Strong vocalists in the form of EXO's Baekyun or D.O. were his next pick, and adding to that DAY6's Young K, would form his version of the perfect demon group from the animated film.
New Indian Express
40 minutes ago
- New Indian Express
Vijay Deverakonda: Kingdom is the first film where I feel calm before release
The team of Kingdom, starring Vijay Deverakonda, held a press meet on Wednesday, just a day ahead of the film's global theatrical release on Thursday. Addressing the media, Vijay reflected on his feelings before the big day, describing how this experience has been different from his past films. He said, 'Usually before a film releases, things are a little chaotic. Everyone is a little nervous, and the phone doesn't stop ringing. However, this is the first time I am feeling calm and content before the release day. In the last 2-3 years, I have had many sleepless nights. But last night, I had a good night's sleep and came here to meet you all. If I am feeling this satisfied, it's all because of the love Telugu film-goers are showering upon us, which reflects in the advance collections for Kingdom.'
The Print
43 minutes ago
- The Print
Stranded in the desert of pop culture
The rise of science and technology has transformed the way we live and the way we engage with culture. Entertainment is now just a click away. From curated Spotify playlists and YouTube shorts to Netflix recommendations, we are constantly surrounded by algorithm-driven choices that fit neatly into our fast-paced lives. We've taken convenience for granted, and in doing so, culture — once rooted in tradition, lived experiences, and community memory — has been reduced to surface-level aesthetics. Your Turn is a unique section from ThePrint featuring points of view from its subscribers. If you are a subscriber, have a point of view, please send it to us. If not, do subscribe here: Tradition today is increasingly absent from daily life. Songs at weddings, once filled with meaning and memory, have become just another background track. The dhol and algoza have been replaced by speakers and DJs blaring Bollywood remixes. Even the role of music has shifted; no longer a medium of storytelling or shared emotion, it is now about volume, beats, and engagement. Loud, fast, westernised rhythms dominate. Entertainment is customisable, quick, and disposable — a reflection of the broader consumerist culture we inhabit. The Manganiyar community of western Rajasthan stands as a poignant example of this shift. A Muslim folk group known for their innate talent for music, the Manganiyars once held a place of honour in Rajput courts. Their songs echoed through grand events, royal gatherings, and crowning ceremonies. Their music was not entertainment; it was legacy, memory, emotion, and devotion. But today, that legacy stands diluted and is struggling to survive. Once royal performers, the Manganiyars are now mostly reduced to singing for tourists in desert camps and hotels. While a handful of Rajput families still call upon them for special occasions such as childbirths, weddings, and religious festivals, the regular patronage that sustained their dignity and livelihood has shrunk drastically. The transformation is stark and painful. Worse than the loss of income is the loss of dignity. Some Manganiyar families now survive by working under MGNREGA as daily wage labourers. For a community whose identity was once steeped in art, being forced to dig roads to make ends meet is not just an economic blow but a deep cultural wound. Yet, despite this erasure, the community remains determined. Children are still taught the ragas, rhythms, and instruments of their ancestors. They sit with their elders, learning not from apps but through oral tradition. Their art is a gift, one they want to pass on, regardless of how the market values it. They refuse to 'sell out' or remix their music to suit the tastes of modern audiences. They resist commercialization, even when it costs them everything. And it does cost them. There are almost no buyers for pure, authentic Manganiyar music anymore. The generation that grew up on Bollywood dance numbers, EDM beats, and viral remixes no longer connects with the slow, emotive storytelling of folk. The little space that remains for folk performances is in tourist camps, where even there, the Manganiyars are now asked to perform filmy songs, sometimes molding their music to include item numbers just to hold the crowd's attention. This is not just the story of a community. It reflects a broader cultural shift. Rising pop culture and Western influence, along with fast, urban lifestyles, have altered our tastes. We are a generation of quick fixes — fast food, short videos, 30-second songs. Traditional art and cultural engagements are now confined to occasional stage shows, often repackaged as 'experiences' for tourists. Art is no longer about connection or emotion; it's about clicks, likes, and views. People have not only lost touch with their roots — they no longer desire to reconnect with them. The authenticity of cultural expression is dying quietly, replaced by hyper-produced imitations that are easier to digest. If this trend continues, future generations will inherit a remix of culture — a distorted version, passed off as heritage, stripped of context, ritual, and depth. They will call it folk, but it will be far from it. The price of convenience is not just economic. It is existential. When a culture is reduced to aesthetics and tradition becomes a performative act, we lose more than music or memory. We lose identity. The Manganiyars still sing, in fading corners of Rajasthan, in quiet ceremonies, and in their homes. They sing not for fame or fortune, but because their art is their inheritance. But for how long can they hold on? And when they are gone, what will remain — a remix? Bio: Mahima Duggal is a researcher and pursuing her PhD at the Department of Political Science, Panjab University, Chandigarh. She focuses on tourism and sustainable tourism practices through field-based studies in Jaisalmer. These pieces are being published as they have been received – they have not been edited/fact-checked by ThePrint.
