In the dynamic realm of South Korean entertainment, a peculiar yet prominent trend has emerged – the convergence of drinking culture and mainstream media. Through livestreams and reality TV shows, often dubbed “sulbang” – a combination of “sul,” meaning alcohol, and “bang,” short for the Korean word for livestream – South Korea’s fascination with both live entertainment and the allure of alcohol has found a unique intersection. This is a trend that has garnered significant attention in recent years, as K-pop idols and celebrities increasingly turn to the camera to share their unfiltered, sometimes inebriated moments with their fans.
One of the most talked-about web variety shows is the “No Charim” series featuring rapper Lee Young Ji as the host, where she invites various celebrities and K-pop idols to come sit down and chit chat with her while drinking. Launched in June 2022, the channel has quickly risen to stardom and currently boasts over 3.3 million subscribers.
Recently, alcohol has also confidently found its place as a theme in television series and reality shows. A prime example is the popular TVING drama “Work Later, Drink Now,” which lives up to its title, featuring scenes where the main characters drink until they get wasted. Reality programs like Wavve’s “Drink with God,” tvN’s “Look, My Shoulder is Dislocated,” as well as iHQ’s “Booze Hunters” have emerged, where participants drink together and engage in tipsy conversations, sometimes exclusively targeting viewers aged 19 and above.
Cecile Renard, a sophomore from the Division of International Studies offered her perspective on the phenomenon of sulbang in South Korea, drawing a comparison to her own experiences in her native France.
Renard said the concept of sulbang was entirely new to her, as she had never interacted with such media content before in France. As an avid viewer of Lee Young Ji’s “No Charim” series, she expressed her appreciation for the candidness the show provides.
“I think the primary allure of sulbang for fans lies in the prospect of seeing a new side of their favorite celebrities without inhibition,” she said. “I reckon it makes them come across as more authentic than ever before.”
But beneath the surface of these seemingly lighthearted interactions lies a complex tapestry of cultural norms, societal pressures, and the ever-evolving relationship between media and the nation’s drinking habits.
In a survey conducted by Ewha Voice from Sept. 11 to 19, results indicated that 94.23 percent of the 52 respondents had recently come across alcohol-related media content. Remarkably, 80.77 percent of those respondents admitted feeling an urge to drink themselves while consuming such content. Furthermore, 61.54 percent of the participants expressed the opinion that there should be specific regulations governing this content, especially regarding safeguarding underage viewers.
One anonymous respondent highlighted their concern over broadcasters using more provocative language, which they believe would not be employed if not for the alcohol-related content. A different respondent raised a specific concern about teenagers encountering such unfiltered content, noting that it could foster unrealistic expectations regarding alcohol.
“I wish there were more content that instilled the idea that alcohol is not a necessity for building strong interpersonal relationships during adulthood, whether in university or in one’s social life,” said another respondent.
According to the 2021 monitoring survey on alcohol advertising released by the Korea Health Promotion Institute, results of alcohol-related content on YouTube revealed that approximately 90 percent of released videos depicted alcohol consumption in a positive light or displayed problematic behaviors while drinking on screen, such as binge drinking, excessive drinking games, profanity, and sexual content. The videos garnered an average of around 800,000 views, indicating that a substantial number of viewers had engaged with such content.
Professor Taek-Gwang Lee from the School of Global Communication at Kyung Hee University dissected this phenomenon from a social perspective.
In Korean culture, Lee explained that sharing a drink is often linked to a sense of relaxation and bonding, particularly when enjoying downtime with coworkers after a day of hard work. When viewers and fans watch their favorite celebrities engage in drinking and conversing about relatable topics on screen, it diminishes the sense of profound distance and unapproachability that may have existed when they were admired from afar.
“The trend of sulbang is not prominent in South Korea because we like drinking alcohol more than other nations,” he disclosed. “It is mainly because we tend to regard a bottle of soju as a kind of compensation after a long day.”
Lee acknowledged that there can be social concerns when underage fans frequently witness their beloved celebrities consuming alcohol on screen, as it may encourage imitation. In line with this, he emphasized that while television variety shows can implement age restrictions or late-night broadcasts to limit access for younger viewers, it becomes considerably more challenging to enforce such restrictions on more open platforms like YouTube or other content creator-based streaming sites.
According to Lee, YouTube and similar websites typically rely on algorithmic methods to restrict alcohol-related content, employing AI systems to filter out underage viewer accounts and sensor far-too- explicit drinking content. However, this approach is not consistently effective, as the platforms are not actively monitored, and there exist numerous loopholes.
Rather than forceful regulatory measures, Lee suggested that the leniency towards social gatherings that encourage heavy alcohol consumption itself needs to change.
“Problems shown in media often directly reflect problems embedded within our society,” he warned. “This is not something that can be regulated by force, as it requires a change of social perception on excessive drinking itself.”
Pop culture critic Song-a Park also examined the phenomenon of sulbang through a cultural lens.
Park agreed that drinking broadcasts thrive on relatability and the camaraderie of individuals coming together to enjoy drinks, because viewers believe alcohol often enhances expressiveness and adds an element of fun to conversations. This allows for unfiltered content that might not have been previously seen on mainstream television, and consequently, viewers appreciate the authenticity and increased interactivity that these shows offer.
Park expressed her concerns regarding the lax restrictions on alcohol-related content, especially on streaming platforms such as YouTube, which presents challenges due to their global reach and diverse content. She suggested that content creators themselves should set age restrictions at the beginning of their videos, accompanied by clear warnings about the consequences of excessive drinking.
“The younger generations naturally imitate the behaviors of media personalities and learn from society as they grow,” she said. “Therefore, unrestricted access to alcohol-related content on YouTube can inadvertently glorify or promote irresponsible drinking habits, making careful consideration of the long-term effects of introducing alcohol content on YouTube crucial.”