> ## Content Index > Fetch the complete content index at: https://www.real-reel.com/llms.txt > Use this file to discover other available public pages before exploring further. # Interview · R:ID ╳ Han Choi ❘ Korean Vertical Strategy Between Seoul and Los Angeles - URL: https://www.real-reel.com/rid-han-choi-vigloo-korean-vertical-drama-strategy/ - Published: 2026-02-27T16:28:19.000Z - Updated: 2026-07-22T04:38:13.000Z - Author: Real Reel - Tags: RID Interviews This is an original R:ID editorial interview. Reproduction or redistribution without prior written permission is prohibited, except for brief quotations with attribution. ![](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/2026/02/han02.jpg) ## As long as we have a good story, I don’t think audience expectations are that different. Interview with ****Han Choi, U.S. Content Lead, Vigloo (SpoonLabs)**, a Korean-origin vertical drama platform competing globally. ![Real Reel](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/2026/01/RID-logo-small------.png) --- ## ⁙ **Opening** > **Vertical drama may have been industrialized in China.** > **It may be scaling fastest in the U.S.** > **But another ecosystem is quietly positioning itself between Seoul and Los Angeles.** **When Vigloo relocated its U.S. team to LA, the move was not only geographic. It signaled a Korean-origin platform stepping directly into the largest global vertical market, not simply exporting content, but building it locally.** **Han Choi, Vigloo’s U.S. Content Lead, operates at that intersection:** **legacy broadcasting and mobile-first platforms, K-drama grammar and dopamine-driven micro-format, instinct and data.** **Her approach is neither ideological nor defensive.** **It is pragmatic.** **And in a format defined by speed, that pragmatism may be strategic.** --- ## ⁙ **Q&A** ### **R:ID:** Could you briefly introduce yourself and your role at Vigloo? ### **Han:** > I spent my middle and high school years in Thailand and went to college in the U.S. After graduation, I returned to Korea and joined CJ ENM as a global business development manager, handling licensing and foreign partnerships. CJ later sent me to Thailand to work on a joint venture where we remade Korean dramas into Thai versions. > I then moved to TikTok as a content business manager, sourcing legacy media, government, and creator content into vertical format. That’s where I first gained real experience with vertical storytelling. > After TikTok, I joined Kakao Entertainment, working on global expansion of K-content including screen adaptation of webtoon and web novel IPs, > Now at Vigloo, I’m the U.S. Content Lead. I oversee English-language vertical production from script sourcing to launch, and I’m building our team here in Los Angeles. Since it’s a fast-paced industry, I’m also very hands-on in production. ### **R:ID:** You’ve worked at CJ ENM, TikTok, Kakao Entertainment, and now Vigloo. What connects these chapters in your career? ### **Han:** > I think since the beginning of my career, I’ve been surrounded by really great people. Every time I moved to a different company, it was connected to people who brought me into new spaces. > Also, I’ve always stayed within the media industry. CJ, TikTok, Kakao, and now Vigloo, they’re different environments, but they’re all under the same umbrella. Media has always been where my passion is. > **Everything just connects.** > **This industry is about people, and meeting great people led me to different experiences and now to Vigloo.** > All of my previous experiences, from legacy broadcasting to mobile platforms to fandom businesses, somehow connect in vertical because vertical is also about stories and engaging fans. ### **R:ID:** Having worked in both traditional companies and mobile-first platforms, what’s the biggest difference in how they think about audience attention? ### **Han:** > In legacy media, especially if you own a channel, you produce content and audiences tune in. There’s a certain built-in structure. > But in digital and vertical platforms, it’s completely different. There are so many options available to the audience. We have to win over their attention among a pool of choices. > **You have to grab their attention immediately. Every second matters.** > **That’s the fundamental shift. Vertical is much more about fighting for attention.** ![](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/2026/02/han03.jpg) ## ▙ ▙ ...You have to grab their attention right away. Every second matters... ### **R:ID:** Since your team relocated to Los Angeles last November, why was it strategically necessary to move the U.S. team there? What has changed since the relocation? ### **Han:** > **The U.S. is currently the biggest market for vertical, so being physically present here was strategically important for us.** > Last year, we were actually producing and releasing a lot of content. But when the entire team relocated to Los Angeles, we had to slow down for a while. Relocation takes time, setting up the team, adjusting to a new environment, so that naturally paused our momentum a bit. > Now that we’ve settled, we’re entering a faster stage. We’re building networks with local creators, production houses, actors, and partners. It’s about establishing the right ecosystem here. > While the platform currently features a strong library of Korean content, we are aggressively investing in English-language originals tailored for U.S. audiences. ### **R:ID:** Korean content culture is known for being fast and highly competitive. Has that shaped the way you work? ### **Han:** > Generally, Korean people move very fast. Decisions are made quickly. There’s not much hesitation. > I think culturally, we’re very passionate about content. You can see that in how K-pop grew globally, there’s a strong drive behind it. > **So I do feel that this kind of fast-moving, passionate environment naturally influences how we approach storytelling and production. Things move quickly.** ![](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/2026/02/_FB_0760-1.jpg) ****Photos shared by the interviewee.** All rights reserved. ## What Is Real in the Reel? ****Join Real Reel™ for sharp, independent analysis of the vertical storytelling economy. ☻** Join. Email sent! Check your inbox to complete your signup. Curated insights. No noise. ### **R:ID:** Do you think K-drama’s emotional pacing and cliffhanger structure naturally fit vertical storytelling? ### **Han:** > **I think it’s a very natural fit because vertical drama and K-drama both focus on characters’ journeys.** > **Also,** the tropes we are producing, like hidden identity, revenge, love triangle, CEO and secretary in love, these are things we see all the time in K-drama. And those stories are already being translated into vertical. > If we manage to bring our K-drama elements and strengthen them, I think we have a high chance of winning in the vertical market. ### **R:ID:** Does micro-drama require adaptation of K-drama grammar? **Han:** > There has to be adaptation. > **K-drama mostly focuses on emotional journeys across many different characters. Vertical is more about the two leads.** > So we have to adjust how we illustrate the story within fewer characters. > Also, sometimes K-drama focuses more on sentimental, softer moments. But vertical right now is more dopamine-oriented. The emotions have to be heightened a little bit. ### **R:ID:** Working between Seoul and Los Angeles, do you feel tension between Korean storytelling instincts and U.S. expectations? ### **Han:** > I haven’t really felt that kind of tension. > It goes back to the story. Korean dramas and movies that you mentioned have already been consumed by U.S. audiences because they had good stories. > **As long as we have a good story, I don’t think audience expectations are that different.** > The difference comes more from language and casting. If we bring Korean content directly without adapting into English, it won’t work as well. But story-wise, I don’t see a big gap. ### **R:ID:** What do global audiences misunderstand about Korean production culture? ### **Han:** > People sometimes assume Korean productions are very hierarchical and director-driven. > But having worked both in Korea and the U.S., I don’t think it’s that different. > **Production is always time-sensitive and safety-sensitive.** > **Everyone has to be precise.** > In both environments, it’s collaborative work between directors, creators, and crews. It’s not as rigid as some people imagine. ![](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/2026/02/KakaoTalk_Photo_2026-02-25-00-18-00.jpeg) ![](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/2026/02/WhatsApp-Image-2026-02-23-at-15.48.08.jpeg) ![](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/2026/02/KakaoTalk_Photo_2026-02-24-23-07-05.jpeg) ![](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/2026/02/CFB_4810.jpg) ****Photos shared by the interviewee.** All rights reserved. ### **R:ID:** Who is watching vertical dramas in Korea? Is the audience similar to the U.S., or different in age and behavior? ### **Han:** > Demographically, it’s fairly similar to the U.S., mostly women over 30. > But the Korean vertical market is still early. We are one of the pioneers there. The market size is smaller than the U.S., but it’s growing. > **And Korean content travels. So it’s not only about building the domestic vertical market, it’s also about global distribution opportunities.** ### **R:ID:** In a market heavily driven by retention metrics, how do you personally protect creative intuition? ### **Han:** > This is something I’m still figuring out. > There are projects I personally thought wouldn’t work, but they performed well. And there are stories I believed strongly in, that failed. > So we cannot rely 100% on numbers. But we also cannot rely 100% on instinct. > **It comes down to the core premise.** > **Having a clear creative intention and a strong foundation for the story is essential.** > **Data then helps us understand which types of conflicts or relationship dynamics resonate in the vertical space.** > **It’s about balancing those two elements.** ### **R:ID:** Vigloo has announced plans to significantly expand AI-driven productions. What was your personal reaction when that strategy was introduced? ### **Han:** > AI is inevitable. > We’re already living with it. It doesn’t mean creators will be replaced. AI is a tool to help us create faster and more efficiently. > It can help in pre-production, visual effects, and especially in testing ideas before committing to full live-action production. That’s cost-saving and time-saving. > **But live action won’t disappear. Audiences still love real human performances.** ### **R:ID:** Where do you see AI genuinely enhancing storytelling, and where do you think it risks flattening it? ### **Han:** > Genres like fantasy, sci-fi, and action may benefit the most, as they typically require heavy VFX and large-scale setups that are costly in live action. > **AI can help us experiment more freely in those areas.** However, vertical storytelling is highly focused on emotional expression within a 9:16 frame, and AI still struggles with capturing subtle emotional nuance. That’s why it’s important how thoughtfully we apply the technology. > **It’s about integration, not replacement.** ### **R:ID:** How can writers or production companies approach Vigloo for collaboration? **Han:** > Absolutely, we’re always looking for creators and partners who align with our vision. Feel free to reach out via email ([vigus@spoonlabs.com](mailto:vigus@spoonlabs.com)) or connect with me on LinkedIn[↗](https://www.linkedin.com/in/hanwoolchoi/?ref=real-reel.com). ![](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/2026/02/KakaoTalk_Photo_2026-02-24-23-07-00-1-1.jpeg) ****Photos shared by the interviewee.** All rights reserved. --- ## ⁙ **R:ID Epilogue** If vertical drama is still considered niche in parts of the industry, Han does not frame the future as a battle between platforms. She frames it as expansion. > **Consistent hit stories.** > **A disciplined balance between creativity, data, and technology.** > **And an ecosystem large enough for multiple players to coexist.** ## ***“We don’t have to compete each other. We have to make this industry bigger.”*** Between Seoul’s production intensity and Los Angeles’ market scale, Vigloo’s next chapter will depend less on format innovation, and more on execution. ### **For Han, it still begins the same way it always has:** **With story.** --- ### About **Han Choi** Han Choi is currently serving as U.S. Content Lead at Vigloo, SpoonLabs’ vertical micro-drama platform. Her career spans traditional broadcasting and mobile-first platforms, including roles at CJ ENM, TikTok, and Kakao Entertainment. With experience in international licensing, content localization, webtoon expansion, and K-pop business strategy, she brings a cross-market perspective to vertical storytelling. Based in Los Angeles, she leads Vigloo’s English-language production and U.S. growth strategy. --- ## **✱** REAL REEL IS AN INDEPENDENT PUBLICATION FOCUSED ON BUSINESS, AESTHETICS, AND THE FUTURE OF VERTICAL DRAMA MOBILE-FIRST STORYTELLING. ![](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/2025/12/bg-1.jpg) ## R:ID #06 ╳ ****Han Choi** ****R:ID™ is Real Reel’s interview column** ****on creative identity in the algorithm age,** ****studying not the work,** ****but the makers and the identities** ****shaped through their practice.** ☻ ### [**MORE R:ID** ](https://www.real-reel.com/tag/rid/)[⇲](https://www.real-reel.com/rid-sasha-tkachenko-mydrama-vertical-drama-interview/) [R:ID Interview: Sasha Tkachenko My Drama Vertical DramaMy Drama Studio Head Sasha Tkachenko on creative discipline, delivery pressure, and how quality is sustained in algorithm-driven vertical drama.![](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/icon/rr-logov2-2-32.jpg)Real ReelReal Reel![](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/thumbnail/sasha-min.jpg)](https://www.real-reel.com/rid-sasha-tkachenko-mydrama-vertical-drama-interview/) [R:ID Interview: Alex Montalvo GammaTime Vertical DramaGammaTime CCO Alex Montalvo discusses premium vertical drama, data-driven greenlights, creative intuition, and why microdrama is a disciplined new medium.![](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/icon/rr-logov2-2-36.jpg)Real Reel™ — The Vertical Drama Industry PublicationReal Reel![](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/thumbnail/poster-alex-1-2.jpg)](https://www.real-reel.com/rid-alex-montalvo-gammatime-vertical-drama-interview/) [R:ID Interview: Sining Xiang on 500M Views & the Algorithm AgeDirector Sining Xiang reflects on authorship, labor, and identity after 500M views—inside vertical drama and the realities of the algorithm age.![](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/icon/rr-logov2-2-37.jpg)Real Reel™ — The Vertical Drama Industry PublicationReal Reel![](https://storage.ghost.io/c/4e/08/4e085894-1c5a-4767-b4c4-70c385ab0d9d/content/images/thumbnail/snx_2-1-1.jpg)](https://www.real-reel.com/rid-sining-xiang-interview/)