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The Glory
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The Glory (1994) is the sequel to The Hope written by American author Herman Wouk.[1]
Key Information
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Plot introduction
[edit]Interweaving the lives and fates of fictional characters and real-life notables, the sequel to The Hope continues the story of Israeli history to the climactic events of the Yom Kippur War and the promise of peace.
Historical events in the book include:
- The sinking of the Israeli ship Eilat by Soviet rockets fired by the Egyptian Navy.
- The War of Attrition.
- The Yom Kippur War.
- Operation Entebbe.
- The visit of Anwar Sadat to Israel.
Families whose history is chronicled in The Glory:
- Barak-Berkowe-Berkowitz
- Nitzan-Bloom-Blumenthal
- Luria
- Pasternak
Real historical personages in the novel include Yonatan Netanyahu, Golda Meir, Ariel Sharon, Anwar Sadat, Moshe Dayan, and David Elazar.
See also
[edit]References
[edit]- ^ Dean, Tamsin (January 29, 1995). "Home-spun epic". Sunday Telegraph. Retrieved November 28, 2025.
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The Glory
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The Glory is a historical novel written by American author Herman Wouk and published in 1994 by Little, Brown and Company.[1] It serves as the sequel to Wouk's 1993 novel The Hope, continuing the narrative of Israel's early statehood through a blend of fictional characters and real historical events spanning from the aftermath of the 1967 Six-Day War to Israel's 40th anniversary celebrations in 1988.[2] The work examines the young nation's repeated confrontations with existential threats, including the 1973 Yom Kippur War, portraying military leaders, strategic decisions, and personal dramas amid geopolitical tensions.[3]
Wouk, a Pulitzer Prize-winning novelist known for epic wartime sagas like The Winds of War, interweaves the precarious lives and romantic entanglements of four principal fictional characters—such as military officer Benny Luria—with documented crises and figures, including Yonatan Netanyahu, to dramatize Israel's path to resilience.[4] The novel underscores themes of survival, leadership, and the interplay of individual agency with national destiny, reflecting Wouk's firsthand observations of Israel's founding and conflicts.[5] Spanning 704 pages, it received attention for its detailed recreation of military history and optimistic portrayal of Jewish statehood, though critics noted its expansive scope occasionally prioritized breadth over depth in character development.[3]
Nominations extended to international and domestic events such as the 2023 Grand Bell Awards (Series Award) and the 2024 Critics Choice Awards, though specific outcomes in those categories remain unreported in primary announcements.[78]
Overview
Synopsis
![Cover art of The Glory by Herman Wouk](./assets/The_Glory_Herman_Wouk_novel_-_cover_art The Glory is a 1994 historical novel by Herman Wouk, serving as the sequel to his 1993 work The Hope. The narrative commences in the euphoric aftermath of Israel's victory in the Six-Day War of June 1967 and extends to around the nation's 40th anniversary celebrations in 1988.[3][2] The plot interweaves the experiences of fictional protagonists with documented historical events and real figures, such as Prime Ministers Golda Meir and Menachem Begin, Defense Minister Moshe Dayan, and Egyptian President Anwar Sadat. Central character General Zev Barak, a seasoned military leader, navigates strategic decisions and personal relationships amid escalating threats. Supporting figures include intelligence operative Benny Luria and his wife Esther, embodying civilian endurance; journalist Yigal Lev, grappling with idealism versus reality; and American operative Sam Pasternak, influencing political maneuvers.[4][6] Major episodes encompass the War of Attrition along the Suez Canal from 1967 to 1970, the coordinated Egyptian and Syrian assault initiating the Yom Kippur War on October 6, 1973, followed by Israel's counteroffensives; the July 1976 Entebbe raid rescuing hostages from Ugandan captivity; the 1978 Camp David Accords brokered by U.S. President Jimmy Carter, culminating in the 1979 Egypt-Israel peace treaty; the 1982 invasion of Lebanon; and the eruption of the First Intifada in December 1987. These crises highlight Israel's repeated confrontations with annihilation, internal debates over security and settlement policies, and tentative steps toward diplomacy.[3][6] Wouk employs these elements to depict the young state's tenacity, personal sacrifices, romantic entanglements, and moral dilemmas, framing the narrative as a testament to Jewish perseverance and the elusive quest for lasting security.[4][6]Themes and Inspirations
The Glory explores the profound psychological and social ramifications of school bullying, portraying it as a form of youth violence that inflicts enduring trauma on victims, often leading to lifelong emotional turmoil and a drive for retribution. The series depicts bullying not merely as isolated acts but as enabled by systemic failures in education and justice, where perpetrators evade accountability due to familial wealth and influence, highlighting class disparities and the inefficacy of legal recourse in South Korea.[7][8] Central to the narrative is the theme of calculated revenge, executed through intellectual strategy rather than physical confrontation, underscoring resilience, moral ambiguity in vengeance, and the cathartic yet destructive obsession it entails.[9] Additional motifs include patriarchal oppression, gender-based violence, and capitalist exploitation, which intersect with bullying to perpetuate cycles of abuse and inequality. The protagonist's transformation from victim to avenger critiques societal indifference to "wangtta" (collective ostracism), a prevalent form of Korean school harassment, and questions the ethics of extralegal justice when institutions prioritize perpetrators' privileges.[10] These elements draw from broader K-drama trends addressing real-world social issues, emphasizing how unaddressed childhood trauma shapes adult psyches and relationships.[8] The series' inspirations stem from writer Kim Eun-sook's research into actual Korean bullying cases, prompted by her daughter's question about responding to school harassment, which led her to conceptualize a narrative of maternal protectiveness channeled into vengeful plotting.[11] Rather than adapting a single incident, it amalgamates patterns from documented school violence events, including a 2006 Cheongju case involving severe abuse, reflecting a surge in K-dramas tackling ijime-like phenomena amid South Korea's documented rise in youth suicides linked to bullying—over 2,000 cases reported annually in the 2010s by the Ministry of Education.[8][12] Kim aimed to innovate within revenge genres by centering a female lead's methodical dismantling of her tormentors, diverging from her prior romantic fantasies to confront unflinchingly the malice underlying everyday cruelties.[13]Production
Development and Writing
The screenplay for The Glory was penned by Kim Eun-sook, whose concept originated from a conversation with her high school-aged daughter, who asked, "Mom, would you be more heartbroken if I beat someone nearly to death or if I got beat nearly to death by someone else?"[14][15] This query led Eun-sook to contemplate parental perspectives on violence and justice, envisioning the protagonist Moon Dong-eun as a stand-in for her daughter and infusing the narrative with maternal protectiveness toward victims lacking means for redress.[11][15] In response, Eun-sook determined she would prioritize pursuing accountability if her child were the victim, a stance that shaped Dong-eun's calculated, long-term revenge against her school bullies.[14] Eun-sook supplemented this personal impetus with extensive research into South Korea's pervasive school violence, including documented cases where victims prioritized apologies over punishment and suffered profound losses of dignity and future prospects.[8][11] The writing emphasized poetic justice and female solidarity—elements Eun-sook described as the script's most fantastical aspects—while portraying perpetrators' downfalls through accumulated acts of kindness aiding the victim, rather than supernatural intervention.[15] To sustain viewer engagement amid heavy themes, she structured the plot for initial captivation followed by retrospective depth, charmingly framing horrific events to evade didacticism.[15] Development involved close collaboration with director Ahn Gil-ho to calibrate violence depictions for realism without alienating audiences, tailored to Netflix's binge-watching format and global reach, which permitted bolder narrative risks like unconventional casting for key roles.[15] Produced by Hwa&Dam Pictures under Studio Dragon, the series was fully pre-produced, enabling meticulous script refinement focused on decisive retaliation as catharsis for survivors.[15] Eun-sook noted the work's departure from her prior male-centric stories, prioritizing victim agency over romance subplots.[15]Casting Process
In July 2022, Netflix confirmed the ensemble cast for The Glory, with Song Hye-kyo attached as the lead Moon Dong-eun, a role marking her return to television following a hiatus from small-screen projects.[16] The announcement on July 21 highlighted her collaboration with screenwriter Kim Eun-sook, with whom she had previously worked on Descendants of the Sun.[16] Accompanying Hye-kyo were Lee Do-hyun as Joo Yeo-jeong, Lim Ji-yeon as Park Yeon-jin, Yeom Hye-ran as Kang Hyeon-nam, Park Sung-hoon as Jeon Jae-jun, and Jung Sung-il as Ha Do-yeong, selected for their established range in portraying complex, morally ambiguous figures suitable to the revenge thriller's demands.[17][18] Casting extended to dual portrayals of characters across teenage and adult timelines, with deliberate emphasis on physical resemblances to maintain visual continuity and immersion; for instance, young Moon Dong-eun (Jung Ji-so) and adult counterparts were chosen to mirror features and builds, earning post-release acclaim for seamless transitions between eras.[19][20] Supporting roles, including teen antagonists like Kim Hieora as young Park Yeon-jin and Tserennadmid Purev as young Jeon Jae-jun, followed similar criteria to align with adult performers' appearances.[19] Given the series' central theme of school bullying and its potential to evoke real-world sensitivities in South Korea, the production conducted background checks on all actors to screen for any prior involvement in school violence incidents, aiming to preempt controversies that could undermine the narrative's focus on victimhood and accountability.[21] This precautionary measure reflected broader industry practices for dramas addressing trauma, prioritizing cast reliability over open auditions in favor of proven talent.[21]Filming and Technical Aspects
Filming for The Glory occurred across various sites in South Korea, with principal locations in Cheongju, including Cheongju Central Park and Cheongju National University of Education, which doubled as school and outdoor settings.[22] Additional exteriors were captured in Incheon at Cheongna Lake Park and on Ganghwado Island at Mung Hit Cafe, the latter portraying a key character's workshop and social hub.[23] [24] Further shoots took place at Elysian Gangchon Ski Resort for winter sequences and the Gangneung breakwater for climactic coastal scenes.[24] [25] While many interior scenes were staged in Seoul studios, the production emphasized real-world authenticity by leveraging these regional landmarks to evoke the series' themes of isolation and retribution.[26] Directed by Ahn Gil-ho, the series was lensed by cinematographer Jang Jong-kyung using Arri Alexa Mini LF cameras paired with Arri Signature Prime lenses, enabling high-dynamic-range imaging suited to the thriller's stark contrasts and intimate close-ups.[27] Technical specifications included a 2.00:1 aspect ratio for widescreen composition and Dolby Digital audio mixing to support tense sound design.[28] These choices facilitated deliberate visual motifs, such as desaturated palettes for past trauma flashbacks and precise framing to underscore psychological tension.[10] Production involved challenges inherent to the material's intensity, with lead actress Song Hye-kyo undergoing a strict three-day diet prior to scar-reveal scenes for realism and describing the overall shoot as emotionally draining due to the revenge narrative's demands.[29] [30] The crew mitigated such rigors through supportive collaboration, as Hye-kyo credited the team's efforts for navigating the script's psychological depth.[31] No major delays or logistical issues were reported, allowing the dual-part release to proceed on schedule.[32]Cast and Characters
Lead Roles
General Zev Barak is the primary protagonist, portrayed as a Viennese-born Israeli military officer of high rank, known for his cultured demeanor, strategic acumen, and involvement in key conflicts including the Six-Day War and Yom Kippur War.[33] [4] His narrative arc intertwines personal struggles, such as family tensions and romantic entanglements, with Israel's national security challenges, positioning him as a liaison to historical figures like Moshe Dayan.[34] Benny Luria, an ace fighter pilot from the earlier narrative threads, continues as a lead figure emphasizing aerial combat prowess and personal resilience amid Israel's existential threats.[34] His character embodies the tactical heroism of the Israel Defense Forces during events like the Entebbe raid, blending individual valor with broader themes of survival.[3] Supporting the core duo, Joseph Blumenthal, nicknamed "Don Kishote," represents a quixotic idealist within the military family, aiding in operational and diplomatic efforts while grappling with ideological convictions.[35] These fictional leads interact extensively with real historical personages, including Golda Meir and Ariel Sharon, to dramatize Israel's post-1967 geopolitical trials without altering documented events.[36]Supporting Roles
Yeom Hye-ran stars as Kang Hyun-nam, the domestic helper employed by Park Yeon-jin who allies with Moon Dong-eun after receiving assistance in addressing her abusive spouse; Hyun-nam's involvement stems from her own history of violence against a child's tormentor, leading to her imprisonment prior to the main events.[37][38] Yeom, who earned a Baeksang Arts Award for her performance in The Uncanny Counter, portrays Hyun-nam's resilience amid personal hardship.[39] Park Sung-hoon portrays Jeon Jae-jun, a high school bully turned affluent golf club proprietor and boutique owner, whose extramarital relationship with Yeon-jin exposes his moral failings and past cruelties.[38][37] Sung-hoon, previously featured in the found-footage horror Gonjiam: Haunted Asylum, embodies Jae-jun's entitlement and eventual unraveling.[39] Kim Hieora plays Lee Sa-ra, a former perpetrator of school violence now working as a painter while grappling with substance dependency and self-absorption.[37][38] Hieora, who appeared in the legal drama Extraordinary Attorney Woo, highlights Sa-ra's detachment and vulnerability to manipulation.[39] Cha Joo-young depicts Choi Hye-jeong, an ex-bully from modest origins employed as a flight attendant, driven by aspirations for social ascent through associations with wealthier figures.[37] Joo-young, known from the romantic series Cheese in the Trap, conveys Hye-jeong's opportunism and underlying insecurities.[38] Kim Gun-woo assumes the role of Son Myeong-o, a compliant subordinate to Jae-jun and fellow former bully, whose loyalty wavers under pressure from Dong-eun's machinations.[37] Gun-woo, with credits including the crime thriller Less than Evil, illustrates Myeong-o's subservience and potential for redemption.[38]Release
Premiere and Distribution
The Glory premiered exclusively on Netflix with the release of its first part, comprising eight episodes, on December 30, 2022.[32][40] The second part, containing the remaining eight episodes of the 16-episode series, followed on March 10, 2023.[32][40] As a Netflix original production, the series was distributed globally through the streaming platform, accessible to subscribers in over 190 countries with multilingual subtitles and dubbed audio options including English, Spanish, French, and German.[41] There was no traditional television broadcast or theatrical release; availability relied on Netflix's subscription model, though unauthorized distribution occurred in regions like China where official access was restricted.[42]Viewership and Popularity
The first part of The Glory premiered on Netflix on December 30, 2022, and rapidly ascended global charts, reaching the fifth position among worldwide most-watched TV shows within three days.[43] Part 2, released on March 10, 2023, propelled the series to the top of Netflix's global Top 10 non-English TV list, holding the No. 1 spot for two consecutive weeks and accumulating 123.59 million viewing hours in its debut week.[44][45] By March 2023, the series had garnered 380.38 million hours viewed, securing seventh place on Netflix's all-time list of most popular non-English series.[44] Updated metrics in May 2023 elevated it to fifth overall among non-English TV titles, reflecting sustained international appeal particularly in Asia, Europe, and the Americas.[46] Year-end data for 2023 reported a cumulative 622.8 million hours viewed for the full season, ranking it third globally among Netflix's most-watched titles that year and third among all Korean dramas ever on the platform.[47][48] The series' popularity extended beyond initial release, topping non-English TV charts in over 20 countries including South Korea, Japan, and the United States following Part 2's launch.[49] In the U.S., it demonstrated audience demand 2.8 times the average TV show as of January 2025, per analytics firm Parrot Analytics.[50] A resurgence occurred in June 2025, with the series re-entering Netflix Korea's daily Top 10 TV shows at No. 9 amid competition from newer releases.[51] Its success underscored Netflix's growing investment in Korean content, contributing to the platform's expansion of K-drama budgets post-release.[46]Reception
Critical Analysis
The Glory presents a stark examination of school bullying's enduring consequences, accurately capturing the persistence of emotional trauma and the role of socioeconomic status in perpetuating power imbalances among perpetrators and victims. Psychological analyses affirm that the series reflects empirical realities, such as the long-term scars from physical and emotional abuse, supported by studies showing bullying's association with heightened risks of depression and anxiety into adulthood.[9] The narrative draws from documented Korean cases, including a 2006 incident in Cheongju where three students burned a classmate with a curling iron, resulting in hospitalization, which mirrors the show's depiction of institutional neglect favoring affluent bullies.[8] This realism underscores causal factors like adult complicity—teachers ignoring or enabling violence—which aligns with research on bystanders' failure to intervene exacerbating harm.[9] Critics highlight the show's strengths in portraying victim resilience and strategic retaliation, fostering global discourse on youth violence amid South Korea's crisis, where suicide has ranked as the leading cause of death for those aged 10–19 since 2007.[8] The layered script and cinematography effectively convey trauma's invisibility alongside visible scars, emphasizing how unpunished aggression entrenches cycles of dominance rooted in class disparities, a persistent issue in a society with high wealth inequality.[8] However, the series falls short by sidelining contemporary bullying forms like cyber-harassment and omitting broader trauma manifestations, such as academic decline or substance issues, which studies link to victimization.[9] A key limitation lies in its foregrounding of revenge as catharsis, potentially reinforcing stereotypes of victims turning perpetually aggressive without exploring evidence-based recoveries like therapy or systemic reforms.[9] While the bullies' group dynamics evoke real conformity pressures, the lack of remorse or redemption arcs oversimplifies perpetrator psychology, ignoring research on how status-seeking drives transient cruelty rather than inherent evil.[9] This narrative choice, though dramatically compelling, risks viewer manipulation toward endorsing vigilante outcomes over accountability mechanisms, as seen in rare real prosecutions like the 2021 case of bullying twin volleyball players facing career repercussions.[8] Ultimately, The Glory excels in exposing institutional failures but underdelivers on holistic solutions, prioritizing visceral justice over causal interventions that could break violence cycles.[9]Audience and Commercial Success
"The Glory" achieved significant commercial success on Netflix, amassing 622.8 million hours viewed worldwide for its first season, which ranked it as the third-most watched title globally in 2023.[48] [47] Part 2 of the season alone garnered 123.59 million hours viewed in its debut week, propelling the series to the top of Netflix's global charts and securing the number-one spot in 38 countries, including South Korea, Japan, and Mexico.[52] [53] By March 2023, the series had accumulated 380.38 million hours viewed, establishing it as Netflix's seventh most popular non-English series of all time, later rising to the fifth position.[44] [46] Audience reception was overwhelmingly positive, with the series earning an 8.2 out of 10 rating on IMDb from over 40,000 user reviews, praised for surpassing typical K-drama standards in storytelling and production quality.[40] Viewers highlighted its gripping revenge narrative and emotional depth, often recommending it as an exceptional entry in Netflix's K-drama catalog that appealed broadly beyond Korean audiences.[54] [55] The show's international breakout surprised Netflix executives, who noted its strong performance on non-English top-10 lists and its role in driving subscriber growth in South Korea.[46] Commercially, "The Glory" influenced Netflix's expanded investment in Korean content, contributing to a broader strategy of prioritizing high-impact non-English originals amid its streaming dominance.[46] Its sustained popularity extended into 2025, with a resurgence placing it at number nine on Netflix Korea's top TV shows chart in June, underscoring enduring audience demand.[51]Controversies
Director's Admissions and Backlash
In March 2023, shortly before the release of the second part of The Glory on March 10, Ahn Gil-ho faced accusations of school bullying from his time as a high school student at an international school in the Philippines. An anonymous online post alleged that in 1996, Ahn, then approximately 17 years old, had gathered a group of younger students aged around 13 and physically assaulted them for about two hours, including acts of violence such as beating.[56][57] The claims gained traction amid South Korea's ongoing "school violence" movement, where public scrutiny of celebrities' past behaviors intensified.[58] On March 12, 2023, Ahn admitted through an official statement from his attorney to having physically assaulted younger students during his high school years, acknowledging the incidents without disputing the core allegations.[59][60] He expressed remorse, stating that he had reflected on his past actions and apologized directly to those affected, emphasizing his intent to make amends.[61][62] The admissions sparked significant backlash, particularly ironic given The Glory's central theme of a victim seeking revenge against her high school bullies, which had positioned the series as a critique of such violence.[63] Public outrage spread across South Korean media and online communities, with critics questioning Ahn's moral authority to depict bullying narratives and calling for accountability in the entertainment industry.[64][65] Netflix did not immediately comment on the director's role in the production, but the controversy contributed to broader discussions on celebrity endorsements of anti-bullying messages amid personal histories of misconduct.[66] No legal actions were reported against Ahn as of the admissions, though the incident highlighted inconsistencies between the show's advocacy and its creator's background.[67]Accusations of Misogyny and Representation Issues
Korean feminist commentators accused The Glory of misogyny in March 2023, claiming the series reinforced harmful stereotypes through its depiction of female characters beyond the central bullying theme.[68] Critics specifically highlighted the subplot involving Lee Sa-ra's leaked sex video with Son Myeong-oh, arguing that its portrayal as a life-ruining event for her perpetuated the notion that women's illicitly filmed encounters irreparably destroy their futures, thus serving as unsatisfying "revenge porn" rather than meaningful justice.[68] One forum post stated, "Seeing that wasn’t satisfying at all and just reinforced to me that if a woman is filmed illegally her life is over."[68] Further objections focused on the female antagonists' stereotypical professional roles and behaviors, such as Park Yeon-jin's position as a weather forecaster and Jeon Hye-jeong's as a flight attendant, which were seen as aligning with conventional gender expectations in Korean media.[68] Hye-jeong's characterization drew particular ire for emphasizing vanity, revealing attire—like her viral low-cut white dress—and promiscuity tied to drug use, allegedly shifting the narrative from systemic bullying to women's personal flaws and sexual objectification.[68] Detractors contended this could gratify male audiences by portraying female inferiority complexes, with one critic noting, "It would have been fine if they focused solely on bullying."[68] Actress Cha Joo-young, who portrayed Hye-jeong, disclosed in interviews that she initially rejected a provocative dress for a scene, preferring a more modest tweed outfit prepared by stylists, but was ultimately directed to wear the revealing version to fit the character's image.[68] These claims emerged primarily on Korean online forums amid the series' global success, contrasting with broader praise for its empowered female protagonist and revenge arc, though they underscored tensions in feminist interpretations of female-driven narratives involving moral ambiguity.[68] No formal responses from the production team addressed the gender-specific critiques directly, and the controversy remained confined to niche discussions rather than derailing the show's reception.[68]Ethical Concerns Over Violence and Real-Life Parallels
The series' depiction of extreme bullying, including torture with household objects like curling irons, parallels documented real-life cases of school violence in South Korea. A prominent example is the 2006 Cheongju incident, in which three female students at a high school subjected a classmate to 20 days of systematic abuse, culminating in burns inflicted by a heated curling iron, resulting in permanent scarring and long-term psychological trauma for the victim.[69] [70] Creator An Gil-ho and writer Kim Eun-sook drew from such anonymized accounts spanning decades, researching systemic patterns of youth violence that often evade institutional accountability due to cultural emphases on hierarchy and silence.[8] These parallels extend to broader statistics, with approximately 2% of South Korean students reporting victimization by peers in surveys, frequently linked to self-harm and suicide rates exceeding OECD averages.[46] Ethical scrutiny has focused on the program's unflinching portrayal of sadistic acts, questioning whether such graphic content risks desensitizing audiences or modeling vigilante retribution over legal recourse. Psychological analyses commend the accurate rendering of enduring trauma, such as post-traumatic stress manifesting years later, but critique the narrative's emphasis on meticulously orchestrated revenge as potentially cathartic yet misleading, diverting attention from preventive reforms like enhanced school oversight.[9] Social psychological examinations highlight how the series underscores group dynamics in bullying—conformity, diffusion of responsibility, and bystander apathy—but warn that unaddressed glorification of retaliatory violence could exacerbate cycles of aggression among impressionable viewers, particularly in a society grappling with youth mental health crises.[7] Counterarguments posit that the realism compels societal reckoning, as evidenced by post-release surges in victim disclosures and policy pushes for stricter penalties on perpetrators, including retroactive investigations.[71] [72] Despite these debates, no formal regulatory actions against the series for excessive violence were reported, reflecting its role in amplifying under-discussed empirical realities over abstract moral hazards.[8]Legacy
Awards and Nominations
The Glory received several awards from major South Korean and Asian entertainment ceremonies, recognizing its dramatic storytelling, performances, and production quality. The series' wins were concentrated in television drama categories, highlighting the lead and supporting actresses' portrayals alongside the overall series excellence.[73] At the 59th Baeksang Arts Awards, held on April 28, 2023, The Glory won the Daesang (grand prize) for Best Drama, Best Actress for Song Hye-kyo's role as Moon Dong-eun, and Best Supporting Actress for Lim Ji-yeon's performance as Park Yeon-jin.[73][74][75] Song Hye-kyo's victory marked her first Baeksang win in the leading actress category after multiple prior nominations in her career.[74] The series continued its success at the Asian Academy Creative Awards (AACA) gala final on December 7, 2023, where it claimed the Best Drama Series award and Lim Ji-yeon won Best Actress in a Supporting Role.[76][77]| Award Ceremony | Year | Category | Recipient | Result |
|---|---|---|---|---|
| Baeksang Arts Awards | 2023 | Best Drama | The Glory | Won[73] |
| Baeksang Arts Awards | 2023 | Best Actress (TV) | Song Hye-kyo | Won[73][74] |
| Baeksang Arts Awards | 2023 | Best Supporting Actress (TV) | Lim Ji-yeon | Won[73] |
| Asian Academy Creative Awards | 2023 | Best Drama Series | The Glory | Won[76] |
| Asian Academy Creative Awards | 2023 | Best Actress in a Supporting Role (Drama) | Lim Ji-yeon | Won[77] |