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Lee Jong-suk and Lee Joon-hyuk confirmed for shared-universe K-dramas Iseop Romance and A Casual Lie
K-Drama5 min read

K-Dramas Are Building Their Own Cinematic Universe, Starting With Lee Jong-suk and Lee Joon-hyuk

Lee Jong-suk and Lee Joon-hyuk will lead two interconnected romance K-dramas set in the same fictional universe, marking the first major shared-universe project in Korean television history.

Pak

February 25, 2026

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#K-Drama#Lee Joon-hyuk#Lee Jong-suk#Shared Universe#Web Novel#Bon Factory#ACE FACTORY#Romance Drama

Korea just borrowed the MCU playbook for romance dramas. Lee Jong-suk and Lee Joon-hyuk have confirmed their leads in two separate K-dramas that share the same fictional universe, the same corporate family, and the same production timeline. The two series, "Iseop's Romance" and "A Casual Lie" (both working titles), will be developed simultaneously and connected through overlapping characters and storylines. It is the most ambitious shared-universe project Korean television has ever attempted.

Lee Jong-suk and Lee Joon-hyuk confirmed for shared-universe K-dramas
Lee Jong-suk (left) and Lee Joon-hyuk will lead two interconnected romance dramas set in the same fictional universe. Photo: ACE FACTORY

Two Dramas, One Universe

ACE FACTORY confirmed on February 23 that Lee Jong-suk will star in "Iseop's Romance" while Lee Joon-hyuk takes the lead in "A Casual Lie." Both are adaptations of bestselling web novels by author Kim Eon Hee, originally published online before expanding into print editions that built a devoted global readership.

The setup is simple but unprecedented for K-drama. In "Iseop's Romance," Lee Jong-suk plays Tae I Seop, a third-generation conglomerate heir who excels at everything except romance. His counterpart is Kang Min Kyeong, a powerhouse employee described as TK Group's "secret weapon." Think office romance with corporate pedigree.

In "A Casual Lie," Lee Joon-hyuk plays Tae Jun Seop, another grandson of the TK Group chairman, who gets pulled into the family's succession battle when copywriter Yeon Woo Kyung enters his orbit. The tone shifts from light office romance into something darker: corporate intrigue layered with genuine emotional stakes.

The connective tissue? Tae I Seop and Tae Jun Seop are cousins. The shared backdrop of the fictional TK Group conglomerate links both stories into a single narrative ecosystem, and that connection will carry directly into the drama adaptations. Female leads for both series have not yet been announced.

The Marvel Playbook for Romance

Shared universes are nothing new in Western entertainment. Marvel built a $30 billion franchise on the concept. But in Korean drama, where standalone 16-episode runs have been the standard for decades, producing two interconnected series simultaneously is a genuine structural experiment.

The idea did not start in a writers' room. It started with Kim Eon Hee's source material. The web novels already existed as a shared universe with overlapping characters and locations, building a reader community that tracked continuity between the two stories. That built-in fanbase gives the adaptation a head start that most K-dramas never get: an audience that already cares about how the pieces fit together.

Streaming platforms have been quietly pushing interconnected content for years. Netflix's Korean slate has expanded into sequels and spinoffs. Disney+ invested in multi-season arcs. But a purpose-built shared universe across two distinct romance dramas, produced at the same time by the same team, is new territory. If it works, expect every major Korean production house to start mining web novel franchises for the same model.

The Production Muscle Behind It

The project is a collaboration between Bon Factory Worldwide, ACE FACTORY, and A-Man Project. The lineup matters. Bon Factory produced "Lovely Runner" and "What's Wrong With Secretary Kim," two of the highest-performing romance dramas in recent memory. ACE FACTORY brought the "Stranger" series to life, one of the most critically respected Korean thrillers ever made. Together, they bring both commercial instinct and creative credibility.

Filming is scheduled to begin later in 2026, with both series being developed on parallel timelines. The simultaneous production is logistically ambitious. Coordinating two separate casts, crews, and storylines that need to reference each other in real time requires the kind of planning that Korean drama production has historically avoided in favor of the live-shoot system.

Why These Two Actors

Lee Jong-suk is one of the biggest names in Korean drama globally. His recent credits include "Law and The City" and Disney+'s "The Remarried Empress," and his casting alone would generate headlines. He brings the kind of star power that guarantees international attention for whatever project he touches.

Lee Joon-hyuk has been building momentum steadily. "Love Scout" and the "Stranger" series established him as a versatile actor who can anchor a drama without relying on the typical leading-man formula. The two actors are labelmates at ACE FACTORY, which makes the coordination between projects considerably smoother.

The cousin dynamic between their characters adds another layer. K-drama fans love a good family rivalry, and the tension between two heirs of the same conglomerate, each navigating romance and corporate politics from different angles, gives the shared universe an emotional backbone that pure plot connections cannot.

What This Could Mean for the Industry

Korean entertainment has been moving toward interconnected storytelling for a while. Webtoon adaptations arrive with pre-built worlds and character databases. Web novels like Kim Eon Hee's provide narrative architecture that spans multiple entry points. The infrastructure for shared universes already exists in the source material. The question has always been whether production companies and broadcasters would take the risk of building them on screen.

This project is the test case. If two romance dramas can share a universe and both find audiences independently while rewarding viewers who watch both, it changes the economics of K-drama production. Streaming platforms competing for subscriber retention would have strong incentive to commission more interconnected content. Production houses could extract more value from a single IP by expanding it across multiple series rather than confining it to one.

The web novel-to-drama pipeline is already one of the hottest trends in Korean entertainment. This project takes it a step further by proving that the pipeline does not have to flow one novel at a time.

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