
MBC logs highest viewership on election night
South Korea's three major broadcast networks, KBS, MBC and SBS, aired marathon coverage of Tuesday's presidential election running some eight hours, with MBC emerging as the clear ratings leader.
According to Nielsen Korea, MBC's 'Election 2025' drew the highest nationwide household viewership across all parts of its six-segment broadcast. Its ratings climbed steadily, with Part 1 drawing 4.3 percent, peaking at 14.5 percent in Part 3, and concluding at 5.4 percent in Part 6. MBC was the only network among the three to record double-digit ratings.
KBS' election coverage, titled 'Vote That Changes My Life" (translated), saw more modest numbers, starting at 2.4 percent and reaching a high of 5.2 percent in Part 2 before tapering off to 2.0 percent.
The SBS special, '2025 People's Vote" (translated), posted still lower figures, opening at 1.4 percent and peaking at 3.7 percent in Parts 3 and 4, before ending at 1.2 percent.
MBC's ratings dominance follows a strong performance during April's general election, when it led all Korean broadcasters with a viewership high of 11.7 percent.
With election night coverage stretching eight to nine hours, each broadcaster introduced distinct features to retain viewer interest. MBC drew attention for a cinematic countdown video that wove together major moments in Korean history. One segment linked a 1946 speech by independence leader Kim Gu with BTS frontman RM's 2018 address to the United Nations -- an editing choice that garnered considerable online engagement for blending historical gravitas with contemporary cultural relevance.
SBS leaned into playful visual effects, incorporating pop culture parodies, including references to "Squid Game" and the viral Pikki Pikki cheerleading dance, both of which gained traction on social media.
Meanwhile, the accuracy of exit polls conducted jointly by KBS, MBC and SBS was called into question due to the significant difference between the exit polls and the final vote tally. The poll surveyed 80,146 voters at 325 polling stations nationwide on the day of the election, between 6 a.m. and 8 p.m. It carried a margin of error of plus or minus 0.8 percentage points at a 95 percent confidence level.
The poll projected a decisive win for Democratic Party candidate Lee Jae-myung with 51.7 percent of the vote, compared to 39.3 percent for Kim Moon-soo of the People Power Party -- a projected gap of 12.4 percentage points.
However, the final tally showed a narrower margin: Lee received 49.42 percent of the votes, while Kim garnered 41.15 percent, which amounted to an actual gap of 8.27 percentage points.
The low accuracy of the exit polls is largely interpreted as stemming from high turnout during early voting, which took place May 29 and 30 and saw a participation rate of 34.74 percent. Since exit polling is conducted only on Election Day, early voters' preferences may have been harder to capture.
To account for potential discrepancies stemming from the early voting turnout, an additional 11,500 people were surveyed by phone and correction factors were applied to the data. Despite these efforts, the broadcasters ultimately failed to deliver an accurate prediction.
Some politicians attributed the miscalculation to the influence of so-called 'shy conservatives.' During a radio broadcast on Wednesday, Woo Sang-ho, co-chair of the Democratic Party of Korea's election campaign committee, remarked, 'It has been clearly confirmed that shy conservatives made up about 5 to 5.5 percent,' noting that 'voters in this group, who had been hesitant to cast their ballots, ultimately turned out in full force.'
In the 2022 presidential election, exit poll results showed Democratic Party candidate Lee Jae-myung with 47.8 percent and People Power Party candidate Yoon Suk-yeol with 48.4 percent. The actual vote count closely aligned, with Lee receiving 47.8 percent and Yoon 48.5 percent.
The early voting turnout during the 2022 presidential election reached 36.93 percent nationwide. The additional phone surveys were conducted to improve accuracy and were credited with producing exit poll estimates that were nearly spot-on.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Korea Herald
6 hours ago
- Korea Herald
Lee Jung-jae breaks down Gi-hun's journey and the line that left fans hanging
'Squid Game' star emphasizes the importance of living a life one can be proud of Lee Jung-jae's journey with "Squid Game" has come to a close, delivering a finale befitting a hero. The veteran actor, who made history by becoming the first Asian to win a Primetime Emmy with the global Netflix sensation, expressed a bittersweet farewell as the series wrapped its third season, released on June 27. Rather than mourning the end of the show, Lee reflected on parting ways with the cast and crew. 'The shoot lasted a long time, and during the process, the actors and staff built a lot of memories together. … We became close, and even more than that, our teamwork was so seamless that on set, instead of tension or pressure, there was a great flow. Because of that, we could look forward to unexpected ideas and spontaneous ad-libs from each other,' Lee shared during a group interview in Samcheong-dong, Seoul, Thursday. 'Now that this project is wrapping up with such a well-synced cast and crew, that's what I feel the saddest about,' he added. The character of Gi-hun underwent significant evolution over the show's three seasons. Season 1 introduced him as a carefree contestant focused on winning the 45.6 million won ($33,538) prize, while Season 2 portrayed a revenge-driven Gi-hun reentering the deadly games to halt them after losing his friends. Season 3 presented a disillusioned, emotionally drained Gi-hun following the failure of his revolution against the games. Reflecting on the demands of the role in the latest season, Lee said, 'In Season 1, Gi-hun's emotions change from episode to episode. During the marble game, for example, he deceives someone, then moves on to the next game while carrying that guilt — this emotional shift gives him a wider range of choices.' 'But as we move into Seasons 2 and 3, the desire to stop the games becomes much stronger. In a way, compared to Season 1, instead of showing various sides of him, he's portrayed in a more determined, fixed way, which made me reflect a lot," said Lee. "I couldn't help but wonder: In this context, how can I draw the audience's attention and focus? It was something I had no choice but to wrestle with.' Perhaps due to this narrative shift, Gi-hun gradually assumed more of an observer role from Season 2 onward, with some critics noting his reduced presence in Season 3. Lee agreed with the observation, explaining that the change was intentional. "In Season 1, the fun was in showing Gi-hun's emotions across various situations, but in Seasons 2 and 3, the structure changed to delivering both message and entertainment by presenting diverse situations and characters.' 'Because of that, Gi-hun transformed into more of an observer's perspective. (With this), it seemed like the heartrending stories and choices of others became more visible," he said. "I wonder if ('Squid Game' Season 3) could have been so diverse if it only focused on Gi-hun. ... I think it was a good choice. Since this is a team project, I didn't dwell on any regrets.' Gi-hun's arc concludes with a poignant moment: delivering a soliloquy about how people are not mere game pieces to a black screen behind which the VIPs — those who sponsor the "Squid Game" for their amusement — stand. His final words, 'People are…' precede his sacrifice to save a baby born during the brutal games, ensuring her victory. Lee described the complexities behind filming this scene: 'I talked a lot with the director about the fact that the lines weren't finalized. Still, we said, 'Let's at least come up with a few.' We decided to shoot everything on set and try a few versions, so I thought about it a lot too." "The director had countless ideas but wouldn't tell me. I was going crazy trying to figure out what would be good," he said. 'Whatever line we tried felt insufficient somehow. The emotions were so complex, and trying to express that in a single short line was incredibly difficult. It just felt so lacking,' said Lee, adding, 'The more time passed, the more (we) came to think that leaving it empty for viewers to fill would be the best.' 'Squid Game' has resonated worldwide with its layered messages, touching on the flaws of capitalism, democracy and social realities. Reflecting on what he hoped to convey through Gi-hun's journey, Lee said he wanted to emphasize the importance of living a life one can be proud of — free from shame. 'For me, I talk a lot about conscience. Sometimes it's about humanity, while the director (also) touches on social and political themes. But from the perspective of playing Gi-hun, I focused a lot on conscience, what kind of choice (we) would make. In the end, isn't it most important to live a life you're not ashamed of?" yoonseo.3348@


Korea Herald
6 hours ago
- Korea Herald
To these creators, lovebugs aren't just pests. They're clickbait
Lovebugs are swarming not just the streets, but also social media with digital creators chasing, filming and even snacking on them (yes, really) Amid a frenzy of swarming lovebugs swallowing Seoul, digital creators are cashing in on the chaos with clickbait videos, from insect-eating to dramatic bug hunts. Chambo, an Australian TikToker with nearly 980,000 followers known for his short-form content about Korean culture, recently drew attention after posting a 'mukbang' video, or eating show, filmed on Mount Gyeyang in Incheon, the notorious epicenter of the lovebug invasion. In the video, he eats ramyeon, gimbap and snacks with lovebugs crawling on his face and clinging to his clothes. A Korean YouTuber went even further. He turned the bugs into a meal. In a video posted on his channel "Lee Chung-geun," he created a batter by combining dead lovebugs with flour and eggs and cooked it just like a beef patty for a 'lovebug burger.' Eating the burger with a spicy gochujang-based sauce and beer, he said, 'It's more savory than expected.' This video amassed 550,000 views within two days of being uploaded. Another creator filmed himself catching swarms of flying lovebugs using a giant electric bug racket, sparking a wave of comments from viewers tired of the ongoing infestation. 'Apparently he's doing it for the views and money, but honestly, I'm just thankful he's catching the lovebugs for us. It gave me a bit of relief from the stress,' one comment read. However, not everyone is amused. Some are expressing fatigue over lovebug videos constantly popping up on their social media feed. 'Seeing lovebugs on the streets is tiring enough. Now they're swarming my YouTube feed. Honestly, I hope these clickbait YouTubers vanish in two weeks just like the bugs. It's so annoying how they're trying to cash in on the situation,' one user wrote. Lovebug populations, known for their low survival rates, typically decline sharply around two weeks after a mass emergence. Since June, an outbreak of lovebugs, a species of March fly known for flying in mating pairs, has quickly spread across Seoul and nearby Gyeonggi Province. The capital region has become a hotspot for the summer bugs, as its dense buildings and LED streetlights create the warm, humid conditions they favor. Irritated by the fact that the lovebug outbreak seemed confined to the greater Seoul area, one social media user even claimed to have brought the insects' carcasses to Busan and scattered them in multiple places. What we know about the lovebug outbreak so far After first being spotted in Incheon in 2015, lovebugs saw a major outbreak in 2022 in Seoul's Eunpyeong District and Goyang, Gyeonggi Province. The insects have now spread throughout all 25 districts of Seoul. They originated from China's Shandong Province, according to the National Institute of Biological Resources, which conducted DNA tests on lovebug specimens collected from China, Taiwan and Japan. Lovebugs in Korea were found to carry genes that allow them to resist pesticides and adapt to heat stress. Meanwhile, these insects have few natural predators, largely because of their acidic, sour-tasting body fluids and tough exoskeletons, which make them unappealing to common insect-eating animals such as birds or frogs. 'With no natural predators, their population often grows quickly at first, but typically stabilizes over time. But recently, during field research, we've frequently observed birds like magpies and sparrows, as well as spiders and mantises, preying on lovebugs," said Park Seon-jae, a researcher at the NIBR. 'I believe nature's self-regulating mechanisms will eventually kick in, though it will take some time for the population to come under control."


Korea Herald
7 hours ago
- Korea Herald
Spotify taps indie spirit with Silica Gel surprise show in Seoul
Streaming giant ramps up support for Korean alternative music through secret gigs and local artist promotions Spotify is deepening its roots in Korea by turning its focus toward the country's thriving indie music scene. The world's leading audio streaming platform on Tuesday hosted 'Speakeasy Live,' a surprise concert experience in Seoul that brought fans face-to-face with Korean indie rock band Silica Gel for one unforgettable night. Held in Seongsu-dong, one of Seoul's most dynamic neighborhoods known for its artistic energy, the event was Spotify's latest effort to connect artists and fans in real life. Attendees were selected through a special lottery, creating an intimate setting where long-time fans could enjoy Silica Gel's music up close. The event was more than just a show — it reflected Spotify's broader strategy to foster stronger, more meaningful relationships between fans and musicians, while promoting the growth of diverse music genres in Korea and beyond. At the heart of this mission is a commitment to helping artists expand their fandoms and earn fair compensation. 'Speakeasy Live is a perfect example of how Spotify is creating new ways for artists and fans to come closer together — both on-platform and in real life,' said Gautam Talwar, general manager of Spotify APAC. 'We're excited to keep supporting Korean music in all its forms — indie, hip-hop, rock and more — so artists can shine on both local and global stages.' The highlight of the night was Silica Gel's electrifying set, featuring fan favorites like 'APEX,' 'Juxtaposition' and 'No Pain,' as well as the world premiere of their new track 'Fefere,' which is set for release on July 10. 'It was incredibly special to share our new track with fans for the very first time,' said Silica Gel. 'Huge thanks to Spotify for making this moment possible — and we hope everyone looks forward to our upcoming release 'Fefere' with Japanese Breakfast (Korean American artist).' The concert followed Spotify's 'Soundcheck' press event in June, where the company announced plans to boost the growth of all Korean music genres — not just K-pop — through platform innovations and artist collaborations. 'Speakeasy Live' marked the first execution of that vision. Spotify's commitment to Korea's indie scene is already bearing fruit. Over the past year, streams of Korean indie rock — often referred to as K-rock — have surged 155 percent on the platform, making it one of the fastest-growing genres among Korean users. Since entering the Korean market in 2021, Spotify has played a major role in spotlighting homegrown indie talent. In 2023, it rebranded its flagship playlist as 'Indie Korea,' giving greater visibility to emerging artists and helping them reach global audiences. Since 2017, streams of Korean indie music have grown by 150 percent, the top five listening markets being Korea, the United States, Taiwan, Indonesia and Thailand.