For rights holders, distributors and broadcasters

What we hold

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.

Three things we can hand over

1. Your titles' journey — one sheet per company

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 19 companies — the ones whose catalogue we can see most completely. For any of the other 202 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.

2. The market panel — 93 countries side by side

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.

3. The title panel — 974 Korean titles, market by market

One row per title per market: places, peak position, first and last week. The published pages carry 13,444 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.

Questions this answers

• Where did our last title actually travel, and where did it stop?
• Which markets take Korean series but not Korean films, or the other way round?
• Is a market's Korean chart shared among many titles, or filled by two or three?
• Did a title that stopped charting come back later — and did anything else of ours come back with it?
• How does our catalogue's reach compare with the median charting Korean catalogue?

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.

What this data cannot tell you

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.

What it costs

One-time, not a subscription. Each panel is a dated table: a twelve-month window that does not change after you buy it. You are not renting access to a dashboard, and there is nothing to cancel. CSV and JSON, with a column dictionary that says what every field means and what it cannot mean.

Why this number. The tools this sits beside are subscriptions — Chartmetric runs about $60 to $150 a month and Soundcharts $49 to $129 a month, and both of them read streaming. None of them measure who is being read about in Indonesian, Vietnamese, Thai and Malay. We priced a finished panel below one month of those tools, because it is a different thing and should not pretend to replace them.

There is no checkout on this page. You email, we answer within one working day, and we invoice. If the tables do not cover your question we say so and do not sell you the near miss.

How to ask

Email cs@klifedesign.net 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.

See it before you ask for it

19 companies have a public page showing how far their titles travelled — markets reached, how many held a title in the same week, and where the places fell. A company gets a page once 10 or more of its titles have reached a Netflix weekly top 10 — that count is the whole cut line. The sheet goes further; the page is enough to see whether the measurement is the one you need.

Every company with 10 or more titles that reached a Netflix weekly top 10, in alphabetical order. The cut is a title count and nothing else, so this list is not a ranking and being on it is not a judgement. Companies with fewer than 10 charting titles have no sheet here. That is a threshold we set to keep each sheet worth reading, not a statement about the company, and not a claim about how much of its catalogue we can see. If your company is not among them, the same sheet can be built from the same data — tell us the name.