Why ‘The Terror,’ ’Pachinko’ Showrunner Soo Hugh is Looking to Korea: ‘It’s Just So Exciting and So Dynamic’

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CANNES – Soo Hugh, creator of “Pachinko,” is actively pursuing various projects that involve either co-producing with or filming in South Korea, or collaborating with a Korean production partner. She shared this information at the Canneseries TV festival, where she serves on the main jury and was the focus of a Meet With keynote on April 25th.

The link between Hugh and Korea appears quite fitting. Notably, he left a significant mark with AMC’s 2018 chilling supernatural survival drama “The Terror” Season 1, collaborating as co-showrunner alongside David Kajganich, and the story unfolded in the Arctic during the years 1845-48.

Later, she received outstanding praise for “Pachinko,” a series produced by Apple TV+ that offers an expansive portrayal of a family’s history. The story unfolds across generations, beginning in 1915 Korea under Japanese occupation and continuing through to 1989 Japan, where the Zainichi Koreans – those who were stripped of their possessions under Japanese rule and were compelled to immigrate to Japan as second-class citizens – are the focus.

According to Hugh, both shows served as a “crucial intersection in cinematic production, connecting America with the global scene.” In essence, he describes it as a symbolic handshake between the two. Hugh’s perspective contributes to the dual evolution of modern television.

Growing up in television has been somewhat similar to the evolution of Canneseries as a festival for me. In a sense, we’ve grown together over time. It’s fortunate that around 15 to 20 years ago, shows like ‘The Sopranos,’ ‘Madmen,’ and ‘Breaking Bad’ were launched. They paved the way for what could be considered the second film revolution. At one point, it was widely believed that American filmmaking was the best. However, now we’re realizing that the narrative is being shared globally, and this globalization is enhancing our stories.

As a movie enthusiast, I’ve learned that in the first half of 2024, Korean content ruled Netflix’s non-English viewings, accounting for an impressive 8.7% of their global viewing time, totaling approximately 8.19 billion hours. Spain followed closely behind with around 3.28 billion hours watched.

As a passionate cinephile, I can’t help but marvel at the exhilarating and dynamic nature of Korean cinema. It’s the marketplace that, for me, continues to pulse with a vibrant energy reminiscent of a bygone golden age. Technologically speaking, they have managed to leapfrog even America, as evidenced by their swift filmmaking prowess and eagerness to adopt new technologies at an astounding pace, something we in the U.S. are yet to match.

In the novel “Pachinko,” the family experiences such an overwhelming amount of bad luck that they feel they are under a spell or cursed. The initial parts of Episode 1 introduce viewers to Korea in 1915, then abruptly shifts to Japan in 1989, where the protagonist Sunja’s grandson, a successful bank executive, confidently walks down a bustling street wearing a stylish suit and eye-catching tie. This transition creates a sense of structural emotional intensity, reminiscent of melodrama.

In reviews, the Netflix series ‘Pachinko’ has been rated exceptionally high, with an impressive 97%. One EbMaster reviewer even stated that the first season stands as one of Apple’s best original productions. However, another EbMaster critic pointed out that at times, the first season can be a bit melodramatic or overly dramatic, using the term ‘pulpy’.

At the heart of this contrast could be Hugh’s affinity for melodrama, a key element in many Korean and Latin narratives, such as “Money Heist” and “Who Killed Sara?.” As Hugh puts it, “I often say I create melodramas, and while in America there may still be some negative connotations attached to it, I wear my love for melodrama with pride.

In the first season of “Pachinko”, EbMaster noted that it stood out for its captivating period authenticity and the poignant sorrow of the Baek family, who were swept up by forces greater than themselves – such as colonization, conflict, and racism.

Hugh expresses a strong passion for narratives that delve into the grand forces shaping history, particularly focusing on their impact on ordinary individuals. This is what makes stories such as ‘Pachinko’ resonate deeply with him,” states Hugh.

Amidst the recent significant happenings, there’s a strong sense of immediacy in the current production process that she acknowledges. This urgency is evident in the Canneseries competition, where the series titles portray characters whose lives are on the brink of chaos. She expresses that it’s possible to enjoy entertainment while also pondering deeper thoughts. In her opinion, these two elements don’t have to be isolated; instead, they can coexist comfortably in one hand. This is what excites her about Canneseries. She believes that this approach, where entertainment and intellectual stimulation are not mutually exclusive, is a characteristic of a European mindset – the ability to appreciate both entertainment and intellectual thought simultaneously.

In the year 2021, Hugh secured a long-term contract with Universal Content Productions. At the beginning of 2022, using this partnership, she introduced the Thousand Miles Project – a nurturing platform for emerging writers who want to share tales about Asian American and Pacific Islander communities.

What counsel might Hugh offer to budding writers at Canneseries? Perhaps she’d say: ‘I can sense when creators produce shows or films that they don’t care for their characters. I find it puzzling how one writes characters they don’t admire. You may love to dislike them, but if they’re not characters you cherish, I wonder why we invest our energy into them.’

In my opinion, what truly captivates an audience isn’t solely the ‘what’, ‘who’, or ‘where’ in a series. Instead, it’s the ‘why’ that resonates deeply. As Hugh eloquently puts it, referencing ‘Adolescence’, understanding the motivations and emotions driving characters is what truly matters. All other details are secondary; they can be filled in by anyone. However, uncovering the ‘why’ requires a deep dive into characters and stories, making it a challenging yet rewarding pursuit.

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2025-04-25 21:18