Netflix’s new series Da Ireuljin, written by Kim Eun-sook, stands as one of the earliest Korean dramas to mount a full-on depiction of Islamic theology. The show fuses Islam’s Satan with a virtuous Goryeo-era enslaved girl, weaving together two contrasting worldviews: Islamic theology and reincarnation. The arrogant Iblis, who refused to bow to the first man Adam, meets the virtuous Korean slave girl, falls in love with her, and ultimately bows and dies. This extreme theological and existential irony is rendered as a fantasy romance comedy for a global audience.

The drama is Kim Eun-sook’s latest Netflix series, a blend of fantasy, slapstick, and romance. Kim Woo-bin and Suzy are engaging leads, the special effects are stunning, and the premise of a lamp genie and a high-stakes bet with a psychopath adds an intriguing hook. Yet the show is not without flaws: the pacing can feel uneven and disrupt immersion. Midway through it steadies, but the energy wanes and the ending can feel like a contrived happy ending. Still, it remains a distinctive if imperfect ambition and hints at a broader global rollout.

The series leans into Islamic concepts of creation and salvation: there is no original sin, Jesus is a prophet rather than the Son of God, there is no Trinity, and salvation is earned through deeds and repentance. Iblis, a creation with free will, appears more human than many of the human characters, and his relationship with God is dynamic. The drama treats humans as beings capable of goodness but capable of sin, with salvation not predestined but contingent on mercy and personal choice. Where the story goes further is in a reincarnation arc for the heroine Ga-yeong and a long arc for Iblis, suggesting that destiny can be negotiated rather than fixed. Beyond its theological focus, the drama is presented as a global content experiment that could help broaden Kim Eun-sook’s world and counter Islamophobia with nuanced portrayal. The piece acknowledges that some audiences in Muslim-majority contexts have raised concerns about cultural appropriation, but emphasizes that the drama seeks to embody the spirit of Islam rather than merely borrowing imagery. Kudos to Kim Eun-sook for pushing Korean entertainment toward a worldwide reach, and for presenting a narrative that many hope will foster cross-cultural dialogue rather than reinforce stereotypes.