Korean titles do come back to charts they had left. Most of the comebacks are second seasons.

Every chart page we publish treats a title’s life as one run: so many weeks, so many countries, a peak position. That is a simplification, and until this week we had not checked what it costs.

It is not always one run. A title leaves a country’s top 10 and, sometimes, comes back.

The first thing we saw was wrong

Across 6,991 title-and-market cells, 940 gaps of four weeks or more end with the title back on that country’s chart. The longest was 223 weeks — more than four years — and it belonged to Juvenile Justice in several markets at once.

Four years is not a comeback. It is a second season.

Netflix attaches a season label to each chart row, so we split the gaps on that label rather than on our own reading:

Nearly half of what looks like a Korean title returning to a chart is a different season of that title arriving. Had we not split on the label, we would have published a number about catalogue revival that was largely a number about sequels.

The third row is not small print. Netflix carries a season label on 78.9% of Korean chart rows, so a fifth of the gaps cannot be classified at all. They stay in their own row.

The explanation we had, and had to drop

The obvious reading of a genuine return is that a new season arrived and pulled the old one back up with it. Everyone has seen a streaming service do this.

We checked. For each of the 310 genuine returns, was another season of the same title on that same country’s chart within four weeks either side?

16 of them. 5.2%.

The other 94.8% came back alone — no new season on that chart, in that market, anywhere near the week they reappeared. The two cases that do fit the pattern are the ones you would guess: Squid Game season one and Alchemy of Souls part one.

That is the finding, and it is not the one we set out to confirm.

Why we trust the split more than the threshold

Four weeks is our choice, not Netflix’s, so here is what happens at other thresholds:

Read the season-changed column down: 430 at two weeks, 412 at twelve. It barely moves. A gap between two seasons is long by construction, so raising the bar does not remove those cases. The same-season column falls by more than half over the same range.

Whichever threshold you pick, the long gaps are mostly seasons. That is what makes the split worth doing, and it is why we are more confident in the classification than in the cut-off.

How common is any of this

Returning is the exception, and we would rather say so than let a mechanism read as a trend. Of the 6,991 title-and-market cells, 5,902 are a single unbroken run with no gap at all. Only 54 distinct titles came back anywhere across 93 markets and five years.

What this cannot tell you

It cannot tell you why. A public holiday, a cast member in the news, a promotion slot, a licence renewal, or simply a quiet week in that market would all produce the same row here. Netflix publishes the position and the season label. It does not publish the reason, and neither will we.

Why we bothered

Because it changes what a catalogue is worth. If old seasons only chart again when a sequel drags them up, a back catalogue is an accessory to new commissioning. If they come back on their own — which is what 94.8% of the genuine returns say — then a title that stopped charting three years ago is not finished, and the rights to it are not either.

The full table, all six thresholds, the ten longest genuine returns and the coverage limit on the season label: when a title comes back. How long titles stay in the first place is at staying power.