Netflix gives its suppliers global hours. It does not give them which country. If you hold rights to a Korean title, that is the column missing from your own reporting — and it is the one that decides where the next title opens.
We have been counting that column, publicly, since 2021-07-04.
| Weekly country top 10 lists | 265 weeks | 2021-07-04 to 2026-07-26 |
| Markets | 93 | Russia excluded — Netflix withdrew from it |
| Chart places counted | 492,900 | of which 37,750 are Korean titles |
| Korean titles that charted | 915 | 530 have a page of their own |
| Companies credited on them | 208 | from Wikidata production, broadcaster and distributor credits |
All of it is measured from Netflix's own published lists and from Wikidata. Nothing here is licensed from a panel or estimated from a model, which is also why there are things it cannot tell you — those are listed further down, at the same size.
Every market each of your titles charted in, with places held, best position reached, the first and last week it appeared there, and which single market took the most of it. One page, your catalogue only.
Ready today for 17 companies — the ones whose catalogue we can see most completely. For any of the other 191 we say up front how much of your catalogue we hold before you decide, because a sheet built on half your titles is worth less than knowing it is half.
For each market: how many chart places Korean titles took, how many distinct titles that was, how few titles fill half of it, and how that has moved year by year. This is the table you want before deciding where a title opens, not after.
The public version is at catalogue depth. The deliverable is the same figures as a file, with the column dictionary and the exclusions written down.
One row per title per market: places, peak position, first and last week. The published pages carry 13,211 such rows; the file carries the rest, including the titles too thin to be worth a page.
A sample is public at every Korean title that has charted — open any of them and you are looking at the same data, one title at a time.
Each of those has a public page behind it. If your question is not on this list, ask it — the useful answer is often that our tables cannot reach it, and we would rather say so.
A top 10 is a rank list, not a viewing count. A title outside a country's top 10 is invisible here at any level of viewing, and two titles at number 4 in different markets are not the same number of people. Netflix publishes hours only for its global lists, so we cannot weight a market by size.
We also cannot tell you why anything moved. Promotion, release timing, dubbing, a cast member in the news and a public holiday all look identical in a rank table. Anyone selling you a reason from this data is selling you something the data does not contain.
And company credits come from Wikidata, which is incomplete: a credit records that a company is attached, not how much of the work it held, and a company whose titles Wikidata does not record is absent rather than small. We publish that coverage figure beside every company-level result.
Email parkintaek2@gmail.com and say what you are trying to decide. Naming the company helps, because the first thing we will tell you is how much of your catalogue we can actually see.
What happens then. We reply within one working day, in Korean or English, with a plain answer to whether these tables cover your question — including when they do not, which is the more useful reply. If they do, you get the file and the column dictionary. If they do not, we say what would have to exist, and we do not sell you the near miss.
Before you write, read something we published. Every figure on this page has a table behind it: the markets · how far a catalogue travels · broadcast and streaming as two pipelines · titles that came back. If those look wrong to you, say so in the same email — that is a better first conversation than a price.
K Culture Wire counts what Netflix and Wikidata publish about Korean film and television, names every source, and says what it left out. Not affiliated with any agency, label or studio. How we count · Every figure we have had to change · Contact