Once considered an unconventional career shift, lawyers becoming drama writers is now emerging as a compelling trend in Korean television — and it’s proving to be a winning formula. It began with Choi Yoo-na, a divorce lawyer who gained fame after appearing on You Quiz on the Block and penning the 2024 legal drama Good Partner.
Her journey from courtroom to scriptroom, fueled by her webtoon Marriage Red, set a precedent: real legal experience could elevate drama storytelling to new levels of realism and emotional resonance.
That blueprint is now being followed — and refined — by Law and the City and Beyond the Bar, two currently airing dramas written by practicing lawyers Lee Seung-hyun and Park Mi-hyun, respectively. Their shows aren’t just popular; they’re redefining what legal dramas can look like.
Authenticity Only Insiders Can Write
One of the standout features of these series is their ability to portray the legal world with unfiltered nuance. Law and the City doesn’t rush into court battles. Instead, it opens with lawyers casually sharing meals — an everyday moment that rings true only because it’s drawn from lived experience.
The drama tackles cases like inheritance disputes and the ethical complexities behind choosing “limited approval” of a debt inheritance. These legal intricacies, normally glossed over in fictional portrayals, serve as dramatic focal points with educational value.
Meanwhile, Beyond the Bar delves into rare and complex legal issues — from a city gas explosion to a botched sperm preservation lawsuit. The resolution isn’t always in the courtroom; sometimes, the real battle unfolds in public opinion, a savvy tactic that reflects the strategic depth of its lawyer-turned-writer.
No Legal Superheroes, Just Real People
Another hallmark of these dramas is how they humanize lawyers. Far from the grandiose depictions of courtroom prodigies or corrupt attorneys, the characters in these series resemble everyday workers — with deadlines, burnout, and office politics.
In Law and the City, Ryu Hye-young’s character Bae Moon-jung grapples with the fear of losing her career due to pregnancy. Lee Jong-suk’s Ahn Joo-hyung resents having to defend corporate interests over victims. Moon Ga-young’s Kang Hee-ji questions the morality of her firm’s actions.
Beyond the Bar mirrors similar dynamics: Yoon Seok-hoon (Lee Jin-wook) is quietly outshined by a better-connected colleague, shedding light on inequality even in high-powered careers.
Writing as Catharsis — and Commentary
So why do lawyers take the leap into drama writing? The answer lies in the same tensions their characters face: moral fatigue, bureaucracy, and the desire to do more than just win cases. Writing becomes both a creative outlet and a means of sparking wider conversations.
It also makes practical sense. Legal writers provide built-in authenticity, eliminating the need for expensive consultants while offering fresh narratives grounded in real-world complexity. Their work complements that of seasoned screenwriters, enhancing both realism and cost-efficiency.
With Law and the City and Beyond the Bar gaining traction, this trend could expand. Medical dramas may be next, as more professionals bring their expertise to storytelling. For viewers, it promises more grounded, resonant stories. For professionals, it’s a new way to influence public perception — not in court, but through the screen.
Sources: daum
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