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South Korea’s newly launched Broadcast and Media Communications Commission has begun formal operations with its first full meeting, signaling a broader policy reset for the country’s media sector ahead of 2026. The commission moved quickly on legacy broadcasting matters such as terrestrial license renewals, yet one of the market’s biggest issues remains unsettled: how to regulate streaming platforms that now compete directly with television. With online video services drawing larger audiences, policymakers face mounting pressure to build a legal structure that reflects how Koreans actually watch content in an AI-accelerated media environment.

The core challenge is institutional fragmentation. Under the current framework, over-the-top platforms are still treated as value-added telecommunications services rather than broadcasters. That leaves responsibilities divided among the science ministry, the culture ministry and the new commission, even as streaming expands into sports, news, live events and premium entertainment. Government officials have indicated that a future Audiovisual Media Services Act could create a unified framework, but jurisdictional coordination remains unresolved. For now, South Korea is operating with a regulatory map shaped by an earlier era of media consumption rather than today’s converged digital market.

For K-EnterTech industries, the stakes go well beyond administrative design. Korean streaming services, broadcasters, studios and creator networks are increasingly competing in a global market where recommendation engines, advertising technology and AI-assisted production tools are becoming central to scale. Uneven regulation can affect investment appetite, content procurement and platform strategy, especially for domestic players linked to traditional broadcasters. That matters for the international reach of Korean drama, music-adjacent content and fandom ecosystems. As 2026 approaches, the structure Seoul adopts could influence whether Korean media companies expand as globally competitive platforms or remain constrained by overlapping domestic rules.

Market participants are likely to split over the next phase. Broadcasters want greater fairness, arguing that similar services should not face sharply different obligations on advertising, scheduling and public funding contributions. Streaming companies, however, warn that importing legacy broadcasting rules wholesale could weaken innovation and reduce capital formation. Analysts will watch closely for whether Seoul chooses a promotion-first model to strengthen local OTT champions, or a harmonized regulatory approach that places growth and compliance on a more equal footing across platforms.

The likely path is gradual rather than abrupt. A higher-level policy body under the Prime Minister’s Office has been floated to guide social debate and legislative coordination, but timelines remain uncertain. That means 2026 could become a transition year, with South Korea testing how to align streaming, broadcasting and AI-driven media policy under one strategic vision.

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About K-EnterTech Forum · K-엔터테크포럼

K-EnterTech Forum (K-ETF, K-엔터테크포럼)은 엔터테인먼트 테크놀로지, K-콘텐츠, 한류, 미디어 정책 분야의 전문 인사이트를 제공하는 국내 대표 플랫폼입니다. K-팝·K-드라마·K-푸드·K-컬처와 AI·스트리밍·크리에이터 이코노미·방송 기술의 공진화(Co-Evolution) 전략을 연구하고, 국내외 포럼·행사를 통해 정책 및 산업 협력 의제를 이끌고 있습니다.
K-EnterTech Forum is Korea's leading platform for insights on entertainment technology, K-Content, Hallyu, and media policy — bridging Korean cultural industries with global technology trends.

고삼석 상임의장 · Chairman Samseog Ko

고삼석(Ko Samseog)은 K-EnterTech Forum 상임의장입니다. 동국대학교 첨단융합대학 석좌교수이자 국가인공지능전략위원회 분과위원으로, 30년 이상의 방송통신 정책 및 산업 경험을 바탕으로 K-콘텐츠와 글로벌 엔터테인먼트 기술의 융합을 선도하고 있습니다. 前 방송통신위원회 상임위원을 역임했으며, ZDNet Korea에 정기 칼럼을 연재 중입니다.
Samseog Ko is the founding Chairman (상임의장) of K-EnterTech Forum. He is a Distinguished Professor at Dongguk University and a member of Korea's National AI Strategy Committee. Former Commissioner of the Korea Communications Commission (KCC).

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