Min Ye-ji

Min Ye-ji (Korean: 민예지) is a South Korean screenwriter. She wrote the screenplay for all sixteen episodes of Friendly Rivalry (선의의 경쟁, 2025), the U+ Mobile TV Girls’ Love series directed by Kim Tae-hee.

She has been writing for Korean cinema since 2009 and her filmography is largely mainstream rather than genre. Her credits include Girl on the Run (2009), The Story of My Life (2011), the adaptation of Kim Tae-yong’s Late Autumn (2011), Pacemaker (2012), Mad Sad Bad (2014), Picnic (2014), Where Mermaids Go (2015), Love Guide for Dumpees (2015), the adaptation of Yim Soon-rye’s Little Forest (2018), the adaptation of Kim Jong-kwan’s Josée (2020) and Kim Tae-yong’s Wonderland (2024). On television she has written for Momo Salon (2014) and Bland You (2014).

Both strands, eight years apart

Two of her titles carry queer classification, and they fall on opposite sides of the genre. Method (메소드, 2017), directed by Pang Eun-jin and running 82 minutes, is classified as Boys’ Love: a veteran stage actor, played by Park Sung-woong, and a young pop star, played by Oh Seung-hoon, are cast opposite each other in a gay romantic play and the rehearsal starts consuming them. Friendly Rivalry, eight years later, is classified as Girls’ Love. We checked all fifteen of her credits individually; those two are the only ones that carry the classification.

That makes her one of a very small number of writers anywhere in this catalogue with a credit in both strands, and as far as we can establish the only Korean one.

BLGLFlix editorial view. Her career says something about how Korea produces this material that a Thai filmography never would. In Thailand a Boys’ Love writer is usually a Boys’ Love writer: the studio makes the shows, the writer stays on the roster, and the credits stack up year after year in the same genre. Nothing of the sort is visible here. Between Method and Friendly Rivalry she wrote Little Forest, Josée and Wonderland, which is about as central to Korean art cinema as a mid-career filmography gets. The queer titles are not a specialism she settled into. They are two jobs among many, taken eight years apart, by a writer the industry hires for adaptation and interiority rather than for romance.

Our read is that this is the actual shape of Korean Boys’ Love and Girls’ Love production, and it is why the Korean section of any database like ours looks thin next to Thailand’s. Korea has no dedicated pipeline, so it borrows writers from film. The upside is craft: Friendly Rivalry is written by someone who spent a decade adapting novels for directors like Kim Tae-yong, a collaboration that spans thirteen years from Late Autumn to Wonderland. The downside is scarcity. When the genre depends on borrowed talent, there is nothing to guarantee that talent comes back.