“The Squid Game”: South Korean Culture Conquers the World Again

It’s the most-searched series on Google, Netflix’s newest hit, and a metaphor for inequality in Korea – learn why ‘The Squid Game ‘is such a phenomenon.

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In a world dominated by custom algorithms and offering invariable content, a South Korean series named as vague as “The Squid Game” (” Game of the squid “) is now fiction most-watched in 90 countries and is poised to become on Netflix’s biggest hit.

The television platform, which usually keeps its audience data with great secrecy, has already advanced that its new fiction “has many possibilities of becoming its most important program,” according to its content manager, Ted Sarandos, in a conference organized in Beverly Hills last week.

According to this forecast,” The Squid Game”, which debuted on September 17, could add more than 82 million viewers (subscriber accounts) in its first month and thus beat” Bridgerton “,” Lupine “and” The Witcher “so far Netflix series with Best Debut.

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A few years ago, a success seemed unthinkable for a format shot entirely in Korean, without international stars, and that narrates an imaginative contest in which 456 people burdened by debt compete life or death for a juicy amount of money.

Ecuador, Spain, Qatar and Oman are among the 90 countries that remain the number one Netflix.

According to Google metrics, searches related to the series dwarf those of any other title, the Vans shoes were worn by its protagonists have increased their sales by 7,800%, and a South Korean internet operator has asked Netflix for compensation for the increase in the use of band after the premiere.

America overcomes its “allergy” to subtitles.

In the US, “The Squid Game” took just four days to reach the top, breaking down the myth widespread among Hollywood studios that the American public cannot follow formats shot in a language other than English. English.

Although the supposed allergy to the subtitles of the North American country had already been broken before phenomena in Spanish, such as “Money Heist” and “Elite”, or in French, in the case of “Lupine”.

“It is a wild growth. We produce local content around the world, and we want it to have an impact in the countries where it is made, but from time to time, one breaks around the world,” Sarandos analyzed.

The words of the platform’s co-founder may have helped drive the format forward, Netflix, which only promoted the launch of “The Squid Game” in South Korea and did not even offer press passes in the United States.