Spoilers for: Designated Survivor (U.S.) (2016-2019) & Designated Survivor: 60 Days (60일, 지정생존자; 60Il, Jijungsaengjonja) (S.K.) (2019- )

When exploring foreign media, whether it is foreign by language or culture, it is easy to get lost. However, getting lost is half the fun, because the joy of discovery remains. A practical way to explore global media is to find a consistent point of interest. It can be as simple as a theme or genre, but an even easier way to find something with a similar point of interest is through adaptation.

“There are times when we make history, and there are times when history makes us. This is a crucial moment for our nation, and America's colors burn brightest when we meet challenges head-on."

- Designated Survivor (U.S. 2016)

"Isn't it the nation's duty to save its people's lives? Today we failed to do so. However, you still have a chance."

- Designated Survivor: 60 Days (S.K. 2019)

Remakes, adaptations, and reboots are becoming more common than ever before. The problem with this is that some feel too similar to their original renditions, and others feel too different. Even so, some strike a nice balance between homage and originality. Designated Survivor: 60 Days (S.K.) strikes a delicate balance.

Lost vs. Gained in Translation (aka Adaptation)

Designated Survivor (U.S.) (2016-2019) and its South Korean adaptation 60 Days (S.K.) (2019- ) both depict a man thrust into Presidency after every person ahead of him in the line of succession is killed in an attack.

The necessary changes were made in the South Korean adaptation, including setting the story in South Korea, with current and relevant topics and South Korean issues, culture, and society. However, the smartest and most effective changes made in the adaptation were the introductions to various characters, or rather how and when they're introduced. For example, the main character in the U.S. version, Tom Kirkman (Kiefer Sutherland), after being thrust into the Presidency appears confident in his role, which at first seems fine until we realize his confidence is extremely misplaced. In the South Korean adaptation, the main character, Park Moo-Jin (Jin Hee Ji), does not appear confident in the least, which is a more natural response to the situation in comparison.

At one point Park Moo-Jin is shown from a low angle. In textbooks, this depicts a character's dominance and power, (which in a sense he has as the new president, but mostly in title only). However, this time, this angle emphasizes his isolation and anxiety, like the audience is watching him from the bottom of a cliff waiting for him to fall off. The shot portrays the character's state of mind without using traditional methods.

American series often start at a more interesting point in a story to quickly grab the audience's attention. However, you can equally enthrall an audience with a slow burn, by slowly drawing them into a story world, which is what the adaptation does. 

The U.S. version avoided introducing many characters we lose. The South Korean version wisely goes a different route and lets the audience meet these characters before the attack and form attachments. So, there is a greater understanding of who and what was lost. We also get a more natural introduction to each of the characters, rather than an efficient or rushed one. As the audience meets more characters in the adaptation, the stakes get higher, and the mournful weight that the characters experience is easier for the audience to understand.

60 Days’ premiere episode had the original Designated Survivor to serve as a foundation which they could stay loyal to, make changes, or improve upon. 60 Days was a blending of these components where the story had moments that were extremely similar to the original, other moments that were completely different, and others that changed just enough managing to improve on the original, and set them apart.

Every adaptation is an opportunity to gain new fans or capture the attention of a previous audience. 60 Days uses culturally relevant details and small changes to make the adaptation their own. These changes added to the story, narrative world, and character growth. Overall the South Korean storytelling felt more intimate and allowed character motivation to be clearer through more initial set up.

60 Days' storytelling was done very well and organically, meaning the storytelling seems to flow well, and the delivery and plot progression feels natural. While U.S. pilots, in retrospect, can feel a little more formulaic and clunky. Mainly because they are naturally exposition-heavy as they attempt to drop names and information as quickly as possible. The U.S. version was frenetic, while the South Korean version was told slower and got more into the chaotic mindset of the main character.

Based on the plot alone, Designated Survivor: 60 Days can bring new fans to the story, but won't necessarily bring fans to the original. The shows, at least at the start, appear to have different vibes and are literally night and day to each other. Overall, the audience gains a new intro and context to a familiar concept, and a somewhat familiar road on their journey while they enjoy the suspense and thrills of getting Lost in Translation.

For more about these screenwriters:

Designated Survivor: David Guggenheim

Designated Survivor: 60 Days (60일, 지정생존자; 60Il, Jijungsaengjonja): Tae Hee Kim

About the Writer

Angela M. Thomas is a Co-Founder & Administrator of the WODC where she serves as the Write or Die Chicks Social Media & Branding Specialist. She captains the international media column Lost in Translation.