#netflix

Sun Oct 04 — Of the 243 Korean titles we track on Netflix charts, 76 share an exact English name with a film or series from another country. Desire is used by sixteen. We measured our own blind spot and are printing it.

Sun Oct 04 — Across 93 countries and 268 weeks, Korean titles took 30.2 per cent of Vietnam's Netflix top 10 slots and 1.6 per cent of America's. Where the share is small, one show is nearly all of it.

Sun Oct 04 — We sorted 1,047 Korean actors who reached a Netflix chart by Chinese zodiac year. The most common sign has 103 of them and the rarest has 76 — and that spread is statistically indistinguishable from chance.

Thu Sep 24 — Of the four titles we checked against Netflix's own weekly country tables, KPop Demon Hunters topped 76 of the 93 countries carrying it (81.7%). Agent Kim topped only 25 of 81 (30.9%).

Thu Sep 24 — Not one show — 30 different Korean titles traded the number-one TV spot on South Korea's own Netflix chart 32 times, without a single non-Korean title breaking in, from April 2022 to December 2023.

Thu Sep 24 — The Great Flood and Squid Game both peaked at number one in 93 countries, the widest reach in our panel of 974 Korean Netflix titles. Squid Game stayed on the charts 60 weeks. The Great Flood managed 11.

Wed Sep 23 — Across 269 weeks of Netflix's Top 10 charts in 93 tracked markets, 974 Korean titles have placed at least once. 447 of them — 45.9% — never placed top 10 anywhere but a single country. The median title charted in just 2.

Tue Sep 22 — Korean cast in 7+ Netflix Top 10 titles had a narrower 30-day Wikipedia reading spread (0.25) than those in just 1 title (0.31). A resample test says that gap shows by chance alone 11.2% of the time — short of what we call confirmed.

Tue Sep 22 — We scanned the 30 August 2026 daily top-1,000 most-read English Wikipedia articles for Korean film and TV titles. Two made the list: Mousetrap at rank 186 (21,033 reads) and Four Hands, Two Sonatas at rank 340 (15,420 reads).

Sun Sep 13 — Two thresholds set by the data itself — 6+ weeks on a country's Netflix top 10, charting in only 1 country — catch 24 Korean titles. Three genuinely travelled abroad. The other 21 never charted anywhere but South Korea.

Mon Sep 07 — Mattel and LEGO are only now dating their KPop Demon Hunters toys. We counted the weeks the film actually spent in each country's Netflix Top 10: 93 countries, Latvia 62, Mexico 51, the United States 49, South Korea 32.

Mon Sep 07 — 577 Korean films have reached a Netflix Top 10 somewhere since July 2021. The median one charted in a single country for three weeks. Korean series do five countries and six weeks. One film managed all 93 at once.

Sun Sep 06 — I Am Solo is heading to Netflix in over 190 countries. Netflix publishes weekly top tens for 94. Of 974 Korean titles that ever charted anywhere, the median reached 2 countries and 447 reached exactly one.

Sun Sep 06 — Christian metal band Demon Hunter has sued Netflix over the name KPop Demon Hunters. Of 974 Korean titles on the Netflix charts, 423 already carry an English name that belongs to a work from somewhere else too.

Sun Sep 06 — People search the phrase for individual Korean films and shows. The Netflix files cannot answer it — but they can say where a title stands among 546. Reaching No.1 in some country turns out to be the common case, not the rare one.

Sat Sep 05 — 93 countries took KPop Demon Hunters into a Netflix top 10, number one in 76 of them. A trade headline says DreamWorks is answering with Forgotten Island. We counted what is being answered — Korea sat exactly at the median.

Sat Sep 05 — Netflix publishes two Top 10 data files. We counted what is in them so you do not have to download 30MB to find out: every column, the weeks and countries covered, and which columns are empty and how often.

Fri Sep 04 — The same 1,113 actors, the same 30 days. Charting credits move an actor's attention floor sevenfold but not the direction it travels: the median actor was flat in all four bands. The trend we did see failed its own resampling test.

Fri Sep 04 — We took the 1,113 actors credited in Netflix's charting Korean titles and counted their English Wikipedia readers. Median daily views go 56, 137, 304, 392 as charting credits pile up. The single highest belongs to someone with three.

Thu Sep 03 — The scattered cases are the famous ones. Of 7,730 Korean chart lives lasting two weeks or more, 6,725 are present every single week from first to last. The median is three weeks, spanning three weeks, unbroken.

Thu Sep 03 — It sat on some country's Netflix Top 10 for 62 straight weeks. Counted country by country, four of 93 passed 52 weeks and only Latvia held every week without dropping out. Korea ran 32 weeks, the median of all 93.

Thu Sep 03 — It is the longest any Korean title has spent in one country's Netflix top 10. The 72 weeks are spread across 96 weeks of calendar, and the longest unbroken run inside them is 53. Squid Game's 43 weeks in India span 201.

Thu Sep 03 — Of every Korean title either country had on a Netflix top 10 in the same week, 77.9% was on both lists. The 15 most alike pairs on the board are all in Southeast or East Asia — and nowhere resembles Korea's own chart.

Thu Sep 03 — Britain manages 33%. Ranking 92 markets by how often they carry a Korean title in the same week it first charts anywhere puts eight Asian markets at the top — and the median lag, the obvious measure, cannot see any of it.

Thu Sep 03 — Every chart row carries a weeks-in-top-10 number. Across 500,340 rows it adds exactly one on every consecutive week — and after a gap it keeps counting 98% of the time. It is a cumulative tally, and reading it as a streak overstates runs.

Thu Sep 03 — Korean titles have held nine or ten of a chart's ten places 51 times. Outside Korea every one is in Vietnam, Indonesia, Malaysia or Singapore. Taiwan, fourth by Korean share, has never done it.

Thu Sep 03 — Two Korean dramas were reported this week as topping Netflix's non-English chart. Counted country by country, Agent Kim Reactivated reached number one in 25 of the 81 countries that carried it, and never appeared on a US or UK chart.

Tue Sep 01 — Across 93 Netflix markets, the countries that see the most Korean titles also keep each one on the chart longest. The two move together, correlation 0.72. Vietnam gives a Korean title three times the shelf life Britain does.

Tue Sep 01 — Of the ten most watched Korean titles on Netflix's global chart, nine reached number one. Alchemy of Souls charted longer than eight of them — 27 weeks — and peaked at three. Hometown Cha-Cha-Cha lasted 16 weeks and peaked at two.

Tue Sep 01 — We rank 300 Korean names by Wikipedia reads. Nine of the top twelve — V, Jennie, Jungkook, Jisoo, ROSÉ — have fewer than two Netflix charting titles, so our own panel cannot see them. That is 38.8% of the reading.

Tue Sep 01 — Thirteen of Squid Game's cast have a second Korean title that charted. For five of them it reached five countries or fewer — Jung Ho-yeon's reached one. For seven it reached fifty or more. The same show did both.

Tue Sep 01 — 94 countries have given a Korean title Netflix's number one place. The median country has done it for two titles, ever. Only eight have had five or more, and all eight are in Asia.

Mon Aug 31 — His English Wikipedia page drew 4,613 opens yesterday against 1,411 a day the week before. My Demon, Sweet Home and Forecasting Love and Weather each hit number one somewhere — true of only 33 of the 389 actors we can measure.

Mon Aug 31 — Netflix publishes one ranking of Korean shows: hours viewed. Count countries instead and 11 of the top 15 move at least three places. Extraordinary Attorney Woo goes from 2nd to 49th.

Sun Aug 30 — We counted every country-week of the Netflix top 10 in which a Korean title appeared — 16,408 of them — and asked which other Korean titles were on that same list. Only six titles went their whole run without ever meeting another.

Sun Aug 30 — Vietnam twice in August 2021, then Indonesia and Malaysia in the same week of July 2022. We checked all 20,581 country-weeks in which any Korean title charted; these four are the only ones outside Korea where nothing else got in.

Sun Aug 30 — In the five years of country top 10s Netflix has published, 93 countries have put a Korean title in a weekly top 10. All 93 did so within the first twelve weeks of the record. Six of the last eight doors were opened by Squid Game.

Sun Aug 30 — Eight months without the top place leaving Korean television, and it changed hands thirteen times inside that run. Malaysia and Singapore then did seventeen weeks each, starting and ending on exactly the same dates.

Fri Aug 28 — Seoul Institute of the Arts has more alumni in our Netflix set than any school. Their titles reach a median of 16 countries. Dongguk's reach 41.5.

Thu Aug 27 — Kim Sang-sik's Vietnam beat Thailand 4-2 on aggregate in Hanoi. We do not count football. What we count is 268 weeks of Netflix country lists — and by that ruler the two finalists are not the same country at all.

Mon Aug 24 — 976 Korean titles have reached a weekly top 10 somewhere. 438 did it in exactly one country, and for 274 of those the country was South Korea itself. Films stay home far more than series — 37% against 15%.

Sun Aug 16 — Korean actors with five or more charting titles are read seven times as often as actors with one, across four Southeast Asian Wikipedias. Pick one from each group at random and the busier one wins 82% of the time — a long way from a rule.

Fri Aug 14 — Median reads of a Korean actor's own Wikipedia article, by how many of their titles reached a Netflix chart: 1.21, 2.15, 4.72, 11.94. Yesterday the same panel gave us nothing, because we were measuring the wrong thing.

Thu Aug 13 — We tried to test whether debuting younger buys a wider career. The answer did not come out in one direction, so we went looking for why — and found that for 658 of 1,329 actors, the chart only ever lit them once.

Mon Aug 10 — 288 Korean titles charted somewhere in 2022 and 215 in 2025, while the places they held rose 9.7%. Remove each year's biggest title and the ten largest gained 3.1 points — much of the concentration is one show returning.

Mon Aug 10 — Two works can carry the same English title, and a chart row does not say which one it is. Thirteen titles in our Korean panel turned out to be foreign works. The test that found them is not the name — it is where they charted.

Mon Aug 10 — Across 210,355 finished runs, a Korean film holds a country chart for 1.96 weeks on average and every other film for 2.02. Korean series run 3.7 weeks against 2.71 — and removing each group's biggest title barely moves it.

Mon Aug 10 — When a Korean title reaches a market's top three, the other Korean titles there fall by 0.403. Non-Korean arrivals cost 0.013. That looks decisive until you notice the two groups start from different heights.

Mon Aug 10 — Opening position is the only fact anyone has on the first Monday. Across 8,324 Korean series runs it moves expected length by 0.56 weeks a step — against 0.44 for other series, 0.33 for Korean films and 0.22 for other films.

Mon Aug 10 — Hold run length fixed and most of that gap closes — among titles that lasted five to eight weeks it is 26.6% against 28.6%. Among those that lasted nine weeks or more it does not close: 9.7% against 24%.

Mon Aug 10 — For each of 93 markets we took the median breadth of the Korean titles that reached it. Korea's own chart: 2. Estonia, Slovenia, Switzerland: 77, 76, 72. Most of that gap is how often a market plays Korean titles at all — but not all of it.

Sun Aug 09 — Across 801 matched pairs, a Korean series sits at rank 5.73 on the weeks a stablemate shares the chart and 5.2 on the weeks it is alone. The direction is the one schedulers fear. The size is half of one place out of ten.

Sun Aug 09 — Titles with six to ten weeks on Korea's own Netflix chart reached ten countries 56.5% of the time, against 11.4% for those with one or two. But 29 reached twenty countries without ever charting in Korea.

Sun Aug 09 — Everything written about a chart is about getting on it. We measured 11,722 departures instead — the position a Korean title held the week before it vanished, against the 10.0% each rank would take if position did not matter.

Sun Aug 09 — Korean titles hold 7.9% of the world's Netflix top 10 places — 39,139 of 498,480. Of those, 82.3% carry the label we use to exclude same-name foreign works. 16.4% carry no label at all, and we keep them because we cannot check them.

Sun Aug 09 — Between 2022 and 2025 Korean share fell in nine of the ten Asian markets we track, a mean of 8.56 points, and rose in 69 of the other 83. Japan went from 32.8% to 11.9%. The one Asian market that rose is Korea's own.

Sun Aug 09 — Among 170 Korean titles that reached 20 countries or more, the first week already holds a median 40% of the countries they ever reach. But 58 of them started under 25% and 38 were nearly everywhere at once.

Sun Aug 09 — Across 93 Netflix markets Korean titles hold 7.9% of chart places. In the 20 markets where their share runs 5–10%, they hold only 5.4% of number-one places. In the ten where they are strongest it inverts: 36.6% at number one against 27.4%.

Sun Aug 09 — Korean titles hold 7.9% of Netflix country chart places. Spread evenly that would put at least one on 55.9% of country-weeks; the real figure is 41.3%. Empty weeks run 58.7% against 44.1%, and crowded weeks 4.6% against 0.5%.

Sun Aug 09 — Of 135,036 times a Korean series reached two countries charts, 58.1% arrived in both the same week. Where one did come first, only 1 of 8,333 country triples contradict each other — the markets form one stable order.

Sun Aug 09 — Across 808 Korean actors joined to Netflix's country charts, those with a title in 20+ countries draw 2.99× the median Wikipedia lookups. Match on titles and recency and the gap holds everywhere but one band, where it reverses.

Sun Aug 09 — Of 287 charting Korean series with a company credit, the 238 that aired on a Korean network reach a median 4 markets. The 49 with no broadcaster on record reach 39. They are 17.1% of the titles and 39.4% of the chart places.

Sun Aug 09 — The leverage argument runs through cost — $360,000 an episode in 2015 against far more now. We tested what it predicts on the charts. It did not appear.

Sun Aug 09 — Of 924 gaps of four weeks or more that end with a Korean title back on a country chart, 43.6% carry a different season label — not a return at all. Of the 315 genuine returns, 94.3% happen with no other season nearby.

Sun Aug 09 — A series charts in 32.9% of countries where its company had already charted and 8.6% where it had not. Comparing each series against itself removes age, strength and size, and the gap widens. It reverses in seven markets, five English.

Sun Aug 09 — Across 220 companies with a charting Korean title, catalogue size tracks total reach (r = 0.516) and not reach per title (r = −0.118). Firms with 20 or more titles get 11.1 markets from the median title; firms with two get 13.5.

Sun Aug 09 — Of 131 companies credited on the 345 Korean series that reached a Netflix country top 10, three account for half. Counting production credits alone — the answer to the obvious objection — it is 5 of 101, on a thinner base of 156 series.

Sun Aug 09 — Netflix attaches hours viewed to 10,720 global chart rows and to 0 of its 499,180 country rows. Knowing a rank narrows the possible hours by 47.3% on the non-English series chart — least of the four, and the one Korean titles sit on.

Sat Aug 08 — They are a different kind of title: 2.20 markets on average against 4.63, and one in seven reaches #1 against one in two. Netflix's Korean chart is not a smaller version of the regional one — it is a different chart.

Sat Aug 08 — Across 493,600 country-chart rows, 18,586 weekly lists put one title in two or more places. One show has held seven of the ten. Seasons explain some of it.

Sat Aug 08 — Of 718 actors with two or more charting Korean titles, 62.4% have worked in both film and series. If format meant nothing, the figure would be 73.8%. The gap is the size of the wall, and it is smaller than reputation suggests.

Sat Aug 08 — Of the 421 Korean titles that reached Southeast Asia's top 10, Korea's own chart got there first for 51 and in the same week for 166 — and never charted 150 of them at all. Series enter together; films scatter.

Sat Aug 08 — Across 93 markets, 57.1% of Korean chart runs reach a higher rank than their opening week against 40.5% for everything else. Longer runs give more chances to climb — and the gap holds inside every run-length band.

Sat Aug 08 — One title takes 21.3% of all Korean viewing hours on Netflix; the biggest K-pop act takes 3.9% of English Wikipedia lookups. But half of all music attention sits on 4.5% of acts against 7.3% of titles on screen. No giant, steeper slope.

Sat Aug 08 — Hold the number of titles fixed and the gap is still there: 1,926 English Wikipedia lookups against 1,111. Hold how far the title travelled fixed and it survives that too. Korea's own chart predicts foreign curiosity.

Sat Aug 08 — Measured on all 246 Korean titles instead of the fifty largest, the number-one group runs five weeks to everyone else's two. Hold length fixed and the gap that is left is 1.3× among titles that lasted six to ten weeks.

Sat Aug 08 — We asked Wikidata which country made each of our 421 chart titles. Films come back ambiguous 54.1% of the time, series 22.5%. Short names are why.

Sat Aug 08 — Across 93 markets the typical Asian one has charted 247 different Korean titles and the typical market elsewhere 85. Matching markets by how many Korean places they hold removes a third of that gap. Two-thirds of it survives.

Sat Aug 08 — Korean series account for more casting slots than films here — 1,804 against 1,611. But among the 30 actors with ten or more charting titles, film outnumbers series 263 to 109.

Sat Aug 08 — Across 93 countries and 265 weeks the global share has not moved since 2022. That average hides nine Asian markets where Korean titles held 30.3% of places and now hold 19.5% — all nine fell, and Korea's own chart did not.

Sat Aug 08 — The Korean share moves 2.1 points across twelve months — and 14.3 in a week. Month by month it sits between 6.5% and 8.6% of the world's top-10 places. Remove each month's biggest title and the band gets wider, not narrower.

Sat Aug 08 — Sixty-nine titles share an actor with Squid Game directly. Another 432 are one further step away. Out of 635 Korean titles with a recorded cast, 502 sit within two shared actors of one show.

Sat Aug 08 — Our panel never had a denominator. Wikidata records 785 Korean series and 1,126 Korean films from the chart era; 249 series and 172 films reached a Top 10. Series are twice as likely to be seen at all.

Fri Aug 07 — 215 of 421 titles never reached a global Top 10, so Netflix's language label — the only thing that separates a Korean work from a foreign one with the same name — cannot be applied to them. They are also the small ones.

Fri Aug 07 — Korean titles drew between 74 and 79 million hours a week from Netflix's global chart in every year we hold. Exports rose 63% in the same two years.

Fri Aug 07 — One Netflix title is 21.3% of all Korean viewing. The most looked-up Korean actor is 3.1% of all attention. And within the fifty most-searched, appearing in more charting titles does not predict being looked up more.

Fri Aug 07 — Actors in ten or more charting Korean titles are looked up eight times as often as those in one. We said in August that the rise stops at ten. It does not. The busiest are still not the most read: 21 titles against Steven Yeun's one.

Fri Aug 07 — Of 666 Korean titles with a recorded cast, 649 form a single connected body through shared actors. We expected a few very busy people to be holding it together. Take out the 100 busiest and 94.5% is still one piece.

Fri Aug 07 — Among the 232 Korean titles Netflix has verifiably filed as Non-English, the median series charted in 35 countries and the median film in 11. Series also last longer — but the country gap is the one runtime cannot explain.

Fri Aug 07 — Of 397 Korean titles that reached a Netflix Top 10 in Southeast Asia since 2021, 45.1% charted in all six countries and 30.7% in exactly one. Series average 4.6 countries; films average 2.6.

Fri Aug 07 — 232 of the 1,550 individuals in our K-pop panel also appear in Korean titles that reached a Netflix Top 10. They are 15% of the names and 41% of the attention. Removing them does not correct the list. It produces a second one.

Fri Aug 07 — The weekly charts carry nine columns and none is country of production. Match titles by name, as everyone must, and 17% of Korean viewing sits on names another country also uses. We measured the gap and publish its size.

Fri Aug 07 — Our Korean Netflix catalogue was 294 titles and 27.7 billion hours. It is 236 and 23.7 billion. Here is the mistake, how it spread, why counting alone would never have caught it, and what we changed so it cannot happen the same way twice.

Fri Aug 07 — Across 312 Korean productions with five or more recorded cast, the median has 16.7% of its cast appearing in nothing else that charted. The spread runs from 0% to 89%, and it separates prestige work from reality and youth casting.

Thu Aug 06 — Five years of Netflix's global Top 10 hold 23.7 billion hours of Korean viewing across 236 titles. One of them is a fifth of it. Every title listed.

Thu Aug 06 — Netflix's Korean catalogue has been watched 23.7 billion hours. The listed companies in that business keep staff 5.5 years against 11.3 across Korea's listed market — and their two halves are mirror-image workforces.