截至2026年，韓國傳統所稱的「三大無線電視台」——KBS、MBC與SBS——雖然在收視率、市占率與話語權上，明顯受到有線頻道（如 tvN、JTBC）以及OTT平台（Netflix、Disney+、TVING、Wavve 等）的強力衝擊，但在韓國媒體生態中，這三家仍然扮演著無可取代的「核心機構」角色。它們不只是播出平台，更是新聞權威、生產制度、明星養成與國家敘事的重要基石，只是各自的定位與優劣勢，隨著媒體環境變遷而出現明顯分化。

KBS（韓國放送公社）至今仍是最具「國家級象徵」的電視台，其定位類似英國的BBC或中國的CCTV，屬於由政府支持的公共電視體系。這樣的背景，讓KBS在新聞報導與公共議題上，擁有其他電視台難以匹敵的資源與權威性。重大政治事件、國際外交、災難報導與選舉轉播，往往仍以KBS的畫面與敘事作為「標準版本」。在戲劇與紀錄片領域，KBS長期擅長製作規模宏大、結構嚴謹的歷史正劇與家庭倫理劇，特別是動輒數十到上百集的週末連續劇，對中老年與家庭觀眾仍有極高黏著度。然而，這樣的優勢同時也是包袱。由於高度受到制度規範與政治監督，KBS在題材選擇與表現手法上相對保守，對社會敏感議題或風格創新往往步調較慢。在新媒體布局、IP 商業化與年輕族群經營上，也普遍被認為反應不如MBC 與SBS 靈活。

MBC（文化廣播公司）則長期被視為「韓劇王國」，其性質介於公營與私營之間，雖有官股背景，但實際營運高度依賴廣告收入，讓它在公共性與商業性之間不斷拉扯。歷史上，MBC曾創造出無數影響亞洲乃至全球的經典戲劇，從《大長今》這類史劇，到情感細膩、貼近現實生活的長篇作品，都奠定其在戲劇製作上的金字招牌。綜藝節目方面，MBC也以創意與實驗性聞名，《無限挑戰》更被視為改寫韓國綜藝語法的里程碑。
不過進入2020年代後，MBC面臨的內外壓力明顯加劇。內部勞資衝突、組織改革與製作體系調整，使其產能與穩定度一度受影響；外部則是有線台與OTT在戲劇品質與題材自由度上快速追趕，削弱MBC的傳統優勢。相較之下，它在公共服務性上不及KBS，在市場靈活度上又常被SBS超越，使MBC長期處於「必須不斷轉型卻難以完全定位」的狀態。

SBS（首爾放送）則是三者之中市場取向最鮮明的一家，也是韓國唯一的全國性私營無線電視台。這種完全商業化的體質，使SBS對收視率、廣告市場與流行趨勢的反應速度極快。它擅長打造貼近年輕世代的內容，無論是節奏明快、題材前衛的偶像劇，還是高度娛樂化、具國際輸出能力的綜藝節目，《Running Man》便是最具代表性的成功案例。SBS也相對敢於啟用新演員、新導演與新組合，包裝手法時尚，視覺完成度高。
但高度商業化同樣帶來批評聲音。相較於KBS的公共深度或MBC的情感厚度，SBS的節目常被認為偏重娛樂消費，對社會議題或文化反思著墨較少。此外，內容走向也更容易受到贊助商、廣告主與市場風向的影響，穩定性有時不如前兩者。

整體來看，截至2026年的趨勢顯示，KBS 依然象徵「權威與正統」，牢牢掌握新聞與公共敘事；MBC則持續在戲劇品質與綜藝創意之間尋求突破，努力找回昔日榮光；SBS則以流行性與市場敏感度取勝，穩固年輕觀眾與商業價值。即便在OTT世代，這三大無線台的影響力不再像過去那樣壟斷，但它們仍然構成韓國媒體結構的中軸，並與新媒體平台形成一種既競爭又共生的關係。

As of 2026, South Korea’s traditionally recognized “three major terrestrial television networks”—KBS, MBC, and SBS—are facing intense competition from cable channels such as tvN and JTBC, as well as from OTT platforms like Netflix, Disney+, TVING, and Wavve. Even so, they remain the most authoritative core institutions in the Korean media landscape. They are not merely broadcasters, but pillars of news credibility, content production systems, star-making mechanisms, and national narrative building. What has changed is that their roles have become more clearly differentiated, with distinct strengths and weaknesses emerging as the media environment evolves.

KBS (Korean Broadcasting System) continues to be the most emblematic “national-level” broadcaster, comparable to the BBC in the UK or CCTV in China, operating as a publicly funded network supported by the government. This background gives KBS unmatched authority and resources in news reporting and public affairs. Coverage of major political events, international diplomacy, national crises, and elections is still widely regarded as definitive when presented by KBS. In drama and documentary production, KBS excels at large-scale, carefully structured historical epics and family-oriented series, especially long-running weekend dramas that can span dozens or even hundreds of episodes and retain strong loyalty among middle-aged and older viewers.
However, these strengths also come with limitations. Due to strict institutional regulations and political oversight, KBS tends to be conservative in subject matter and presentation style, often moving cautiously when dealing with socially sensitive topics or stylistic innovation. In areas such as digital transformation, IP commercialization, and engagement with younger audiences, it is commonly seen as slower to adapt than MBC or SBS.

MBC (Munhwa Broadcasting Corporation) has long been known as the “kingdom of Korean dramas.” Structurally, it sits between public and private ownership: while it has government-affiliated shareholders, its actual operations rely heavily on advertising revenue, placing it in constant tension between public service and commercial imperatives. Historically, MBC produced numerous landmark dramas that influenced not only Korea but all of Asia, from epic historical series like Dae Jang Geum to emotionally nuanced, socially grounded long-form dramas. In variety entertainment, MBC has also been a pioneer of creativity and experimentation, with programs like Infinite Challenge widely regarded as milestones that reshaped the language of Korean variety shows.
In the 2020s, however, MBC has faced growing challenges. Internal labor disputes, organizational restructuring, and changes in production systems temporarily affected stability and output, while externally, cable networks and OTT platforms rapidly closed the gap in drama quality and thematic freedom. As a result, MBC’s traditional advantages were weakened. Compared with KBS, it has less authority as a public broadcaster, and compared with SBS, it often lacks the same level of market agility, leaving it in a position where constant reinvention is necessary but a clear long-term identity remains difficult to secure.

SBS (Seoul Broadcasting System) stands out as the most market-driven of the three and is South Korea’s only nationwide privately owned terrestrial broadcaster. Its fully commercial nature allows it to respond extremely quickly to ratings data, advertising trends, and popular culture shifts. SBS specializes in content that resonates with younger audiences, including fast-paced, trend-conscious dramas and highly entertaining, globally exportable variety shows. Running Man is a prime example of its international success. The network is also known for its willingness to cast new actors, collaborate with emerging creators, and adopt stylish, high-polish visual packaging.
That said, this strong commercial orientation also attracts criticism. Compared with the public depth of KBS or the emotional richness traditionally associated with MBC, SBS programs are sometimes seen as prioritizing entertainment value over cultural or social reflection. Content direction can also be more heavily influenced by advertisers, sponsors, and market pressures, which may affect consistency and depth.

Overall, trends up to 2026 suggest that KBS continues to represent authority and institutional legitimacy, firmly anchoring news and public discourse; MBC remains focused on reclaiming its reputation for high-quality dramas and innovative variety programming; and SBS maintains its edge through popularity, speed, and commercial sensibility, particularly among younger viewers. Although the dominance of the three terrestrial networks has diminished in the OTT era, they still form the backbone of South Korea’s media structure, coexisting with and competing against new platforms in a complex relationship of rivalry and interdependence.