A Study of Storytelling in Yuri Series as a Process of Commodification: A Case Study of ‘The Secret of Us’

Abstract

Background and Objectives: “The Secret of Us” is the first Yuri series produced under Channel 3 that achieved remarkable success—not only in terms of awards and popularity, but also in its potential for business expansion, which led to what became known as the “The Secret of Us Phenomenon.” Central to this phenomenon is the natural chemistry of “LingOrm, marked by their striking “demonic chemistry.” However, performance alone is not sufficient to sustain ongoing market value. Narrative plays a crucial role in reinforcing this sense of “naturalness” and further enhancing the image of their “demonic chemistry.” Therefore, this research aimed to examine narratives as part of the commodification process, to reveal how storytelling and meaning-making around “LingOrm” contributed to the emergence of the “The Secret of Us” phenomenon.

Methods: This research is a qualitative study that focuses on the commodification process within the series “The Secret of Us”. It employs online ethnographic observation (netnography) and content analysis to decode and interpret the narrative patterns that generate emotional engagement, drawing on the theoretical frameworks of Eva Illouz and Henry Jenkins.

Results: The study found that the storytelling around LingOrm evolved across three distinct phases: 1) Before the series aired, storytelling was strategically planned as part of a marketing approach that emphasized narrative and the actors’ chemistry—an essential convention of Yuri series. This was tested through a highly successful fan meeting, indicating the strength of both the narrative and the actors’ chemistry. 2) During the airing of the series, storytelling aimed to reinforce both the narrative and the couple’s chemistry. Three key themes emerged during this period consist of their first meeting, the difference between real life and series roles, and their status as a popular on-screen couple. 3) After the series aired, the storytelling of LingOrm continued through fan meetings, product endorsements, and trending hashtags on social media. In particular, narratives that take place outside their official roles (off camera) often depict themes of fate and the ‘red thread’ destiny, highlighting LingOrm’s personas characterized by mutual respect, care, and gentleness, as well as the commodification of their image as a ‘shipped’ couple, alongside the strategic cultivation and commodification of their ‘koojin’ (fan-imagined romantic pairing) image.”

Application of this study: The research findings highlight the significance of female-driven narration and the mechanisms through which Yuri series are commodified, while also illustrating the distinctive creative practices that characterize the production of Yuri content. 

Conclusions: The studies on narrative structures in Yuri series reveal a mode of storytelling that deliberately fosters affective engagement (emotional marketing) among viewers and fan communities, thereby sustaining continuous participation. This aligns with the theoretical perspectives of Illouz and Jenkins. Moreover, the case of ‘The Secret of Us’ (Jai Son Ruk) demonstrates three distinctive mechanisms that drive its narrative: female-driven narration, female-led normalization processes, and sisterhood-based romance. These mechanisms constitute a unique narrative apparatus that not only reflects women’s narrative agency but also opens opportunities for direct communication with female audiences—even within entertainment sectors and in products grounded in notions of masculinity. Nevertheless, commercial development should be accompanied by efforts to broaden narratives that represent the lived experiences of women-loving-women beyond romantic tropes. Such expansion is necessary to avoid reducing lesbian identities or gender diversity to mere commodities, and to ensure that the cultural power of Yuri continues to progress in tandem with social responsibility in the context of the entertainment industry.