“Sometimes I think [the show Pachinko] is almost too personal. I feel like every show, you look at it and say, ‘How much of myself is in this show?’ I did a show [The Whispers] about children who were communicating with an invisible alien force and somehow, I had to figure out how to make it part of me as well. We try to put ourselves in as much of our work as possible. But with this show, the tipping point almost fell in the other direction, where I felt so personally invested. I felt very much like this is my family’s story, as well. That responsibility sometimes felt burdensome. So many of the cast and crew have said that there's a responsibility with this show that almost feels too much. But at the end of the day I think it's a thing that made us work harder. I think the show is as good as it is because people cared,” says Pachinko showrunner and creator Soo Hugh about making the story personal to her.

In this episode, we speak to Hugh about the challenges of writing a show where characters speak in three languages, making the characters relatable to an American audience, and the responsibility of telling the stories of strong women over generations.

“In Korean families, we always have these jokes that everyone knows who’s running the house – your mother! I think it's the strength of Korean women that have just carried us through,” she says.

We even ask Hugh about her work on one of my favorite shows The Terror, and what she thinks really happened to the real-life British crew on the Terror and Erebus ships that got stuck in the Artic ice. Her answer may surprise you.

To hear more, listen to the podcast.