Running Man, the Korean variety juggernaut that has accumulated over 700 episodes since its 2010 debut, is crossing the Pacific. SBS, the Korean broadcaster behind the long-running series, has partnered with producer Pippa Lambert's production company Hellcat to develop an American version of the show.
The format presents itself as a deceptively simple weekly game of tag, but has become a cultural phenomenon in Korea. Its success rests on chemistry between cast members and the unpredictable chaos that erupts when celebrities pursue and outwit each other across various locations and challenges. The show's appeal transcends the Korean market, having already spawned adaptations in multiple countries, including Thailand, Vietnam, and the Philippines.
The American adaptation arrives at a moment when Korean entertainment formats have gained unprecedented traction in U.S. television. The success of Netflix's Squid Game demonstrated mainstream appetite for Korean content, while reality and competition formats have proven enduring vehicles for international broadcasters seeking tested intellectual property. Running Man's premise, built on physical comedy and interpersonal dynamics rather than cultural specificity, appears designed to translate readily to American audiences.
Lambert's Hellcat brings production credibility to the project. The company has worked on various entertainment properties, positioning it as a logical partner for navigating the mechanics of adapting a Korean format for stateside networks or streaming platforms.
Running Man's 15-year run in Korea reflects its ability to refresh itself constantly. The show rotates celebrity guests, introduces novel game mechanics, and maintains viewer investment through unpredictable outcomes. These structural elements suggest the format contains durability that American networks typically seek in competition and variety programming.
The adaptation's success will likely depend on cast selection and whether producers can capture the improvisational spirit that has sustained the Korean version. American audiences have shown growing comfort with unscripted formats emphasizing personality over polish, though running a successful weekly variety show remains a notoriously difficult task in U.S. television.