1 week Ago By [email protected](KoreaTimes)
Seen is a collage of posters for Netflix series sequels. The platform faces the challenge of breaking the cycle of poor reviews for its season-based content. Courtesy of Netflix Can 'Squid Game 2' break streak of underwhelming Netflix follow-ups? By KTimes Netflix faces mounting pressure to break the cycle of disappointing performances from its series sequels.
Despite high expectations for second seasons of popular shows like "Sweet Home," "Gyeongseong Creature" and "D.P.," these follow-ups have struggled to replicate the success of its predecessors.
Even "Hellbound" Season 2, released with high hopes, was met with a lukewarm response, raising questions about whether Netflix is focusing too much on sequels based on popularity and not enough on quality. Season-based productions, initially common in Hollywood and global markets, have since expanded to Korean streaming platforms, creating a new trend in K-dramas. This trend led to the expectation that any hit show would automatically receive a sequel.
However, recent Netflix seasons have drawn criticism for failing to measure up, with some questioning the approach and vision of the platform itself. Season-based series have clear advantages: IP (intellectual property) utilization and a guaranteed loyal viewer base, both of which encourage studios to pursue sequels. Amid Korea’s current unstable production landscape, season-based stories offer relatively stable returns.
"Squid Game" Season 2 director Hwang Dong-hyuk and lead actor Lee Jung-jae talk to the media at a special event for the series in Los Angeles, Nov. 3. Reuters-Yonhap However, sequels created without a long-term vision for world-building and character consistency can struggle to maintain quality — a reality exemplified by Netflix’s recent lineup.
Hits like "D.P." Season 2, "Sweet Home" Seasons 2 and 3, "Gyeongseong Creature 2," "Hellbound" Season 2, and even the film sequel "Believer 2" have all underperformed compared to their originals.
Although each of these series faced unique challenges, none succeeded in producing a sequel that surpassed its predecessor. Critics worry that the poor reception of these sequels might also harm the image of K-content as a whole. While Netflix has spent nearly a decade investing in Korean content, 2023 has seen a notable slowdown, with no significant new breakout series to follow the global impact of "Squid Game" and "The Glory.
" In an interview, director Yeon Sang-ho highlighted the limitations of Korea’s season-based production model. “To produce a proper season format, we need more time,” he said. “When working on 'Hellbound' Season 2, I found myself wondering, ‘Does our pace match the audience’s expectations?’ Currently, the Korean model concentrates creative efforts on one or two lead creators per series.
For a successful season format, we need a structured system like the one abroad. But in Korea, such a system doesn’t exist yet, and there are real doubts about the feasibility of creating one.” He continued, “Building an entirely new system in an industry that has never had one is an enormous challenge.
Right now, Korea is in a transition phase.” Jang Tae-sang (Park Seo-joon) is tortured by the Japanese military in the Netflix series "Gyeongseong Creature." Courtesy of Netflix Looking at the broader picture, it is clear that if K-drama IP is to be used successfully in the long-term, Korea will need a system that efficiently supports its creative teams.
The industry is now closely watching the upcoming release of "Squid Game" Season 2, hoping it can break the trend and bring renewed success to Korean content on a global stage. This article from the Hankook Ilbo, the sister publication of The Korea Times, is translated by a generative AI and edited by The Korea Times..
