Baek Mi-kyeong

Baek Mi-kyeong is a South Korean television screenwriter whose work is closely associated with JTBC dramas that combine heightened premises, social satire, and female-centered conflict. Her 2015 series My Love Eun-dong follows a top actor who cannot forget the woman he loved as a teenager, and uses different performers to portray the central couple across separate periods of their lives. She drew wide attention in 2017 with Strong Woman Do Bong-soon, a romantic fantasy about Do Bong-soon, a young woman born with extraordinary physical strength. Park Bo-young played Bong-soon; Park Hyung-sik played Ahn Min-hyuk, the CEO who hires her as his bodyguard; and Ji Soo played detective In Guk-doo. The show made its premise—hereditary strength passed through women—central to both its action and comedy. That same year, Baek wrote Woman of Dignity, also known as The Lady in Dignity. It places the wealthy Woo family and its household workers in conflict after a manipulative caregiver enters their home. Kim Hee-sun portrayed Woo Ah-jin, a former flight attendant married into the family, while Kim Sun-a played Park Bok-ja, the caregiver whose arrival destabilizes it. Its final episode recorded a 12.065 percent nationwide rating, according to Nielsen Korea, a figure widely reported as a cable-drama record at the time. Baek returned to the theme of power inside an elite household with Mine, the 2021 tvN drama starring Lee Bo-young and Kim Seo-hyung. The series follows two women in a chaebol family as they confront secrecy, control, and murder. Lee played Seo Hee-soo, a former actress, and Kim played Jung Seo-hyun, a lawyer married into the family. In 2023, Baek expanded the world of Strong Woman Do Bong-soon with Strong Girl Nam-soon. The series centers on Gang Nam-soon, played by Lee Yoo-mi, a woman with superhuman strength who reunites with her mother Hwang Geum-joo, played by Kim Jung-eun, and grandmother Gil Joong-gan, played by Kim Hae-sook. Unlike a simple remake, it establishes a new heroine and family line while retaining the earlier drama’s super-strength mythology. Across these series, Baek repeatedly gives women the narrative agency to expose abuses within affluent families, corporations, and romantic relationships. Her credited dramas move between fantasy romance and domestic thriller, but their specific conflicts often turn on inheritance, class performance, and the unequal power concealed behind prestige. Her television writing has consequently been identified with several of the most conspicuous Korean cable dramas of the 2010s and 2020s.