Ghost Ship

Ghost Ship on Netflix, country by country — all 21 markets

Markets are in alphabetical order, not in order of size. A market name is a link only where that country has a page of its own; the rest are plain text rather than a link that goes nowhere.

Beside the median charting Korean title

The median is taken across all 974 Korean titles that reached any country top 10, most of which charted in one or two markets. This is a comparison, not a ranking — we do not publish a league of titles, and a title well above the median is a title that travelled, not a title that is better.

All at once, or one country at a time

It reached 21 markets in all. The most that held it in the same week was 9 — the week of 2021-09-19.

Those two figures are different achievements. Reaching 21 markets over 6 weeks and holding 9 of them in one week are not the same event, and a single "markets" column cannot tell them apart. Netflix publishes neither figure; both are counted here from the weekly country lists.

How it left. Counting each country separately, it ended 21 runs on a chart. The middle one ended from position 7, and 8 of 21 ended from positions 8 to 10. Across all Korean titles that figure is 56.8%, and it would be 30% if leaving had nothing to do with position — how a title leaves has the whole table.

Every run this title had, market by market

A run is a stretch of consecutive weeks on one country's chart. A title that leaves and comes back later has two runs there, because those are two separate events — and this one never did: every market held it once and then it was gone.

8 of 21 runs ended from positions 8 to 10. Across every Korean title that figure is 56.8%, and it would be 30% if leaving had nothing to do with position — how a title leaves has the whole table.

It was rarely alone. In the weeks and countries where it charted, an average of 2.39 other Korean titles were on the same chart, and it had the country's Korean places to itself in 8.7% of them. Two titles from one company on the same chart cost each other about half a position — we measured that.

Counted from 499,180 weekly country chart rows. The week-by-week path of a title, the full company catalogue table and the titles that never charted remain in the company sheet. What is here is the per-market summary: how many separate runs, the longest, and the position each run ended from.

Chart places by year

⚠ 2021 and 2026 are part years — Netflix's weekly country lists start 2021-07-04 and our copy ends 2026-08-23, so those two rows cover fewer weeks than the others and cannot be compared with them.

Put this title in context

The same weekly files, cut five other ways. Each of these answers a question this page cannot: not what happened to Ghost Ship, but what happened around it.

• Where Korean titles could actually be watched— charting is the floor on availability, and Netflix publishes nothing else
• Which one did best — three rulers that disagree— reach, staying power and total places name three different winners
• The ones that ran and ran, almost nowhere— long runs in one or two countries, measured rather than guessed
• Everything that charted in 2021— the year this title first held a place
• Every company behind a charting Korean title— 188 of them, and the 147 titles with no credit at all
• Every country, and how Korean its chart is— from 51% in Korea to 1.4% in Iceland

Was Ghost Ship a hit or a flop?

We are not going to rule on that, and neither can anyone else working from this data. Netflix publishes no budget, no revenue and no viewing hours by country, so a chart position cannot be turned into a verdict. Several Korean titles opened in cinemas first, and that run is not in this data at all.

What we can give you is the thing the word “flop” is really reaching for: somewhere to stand. Of the 974 Korean titles that entered any country’s Netflix weekly top 10 between 2021-07-04 and 2026-08-23, here is where Ghost Ship sits.

“Number one on Netflix” is not the rare part. 304 of 974 titles — 31% — have been number one in some country in some week, and 65 of those 304 were number one in the only country that ever charted them. Read a rank next to the reach, not on its own. The full distribution, and what it can and cannot say.

What to watch after Ghost Ship

We are not recommending anything. We have no idea what you like, and Netflix publishes nothing about who watched what. What we can tell you is which other Korean titles were on the same country’s top 10, in the same week as Ghost Ship — the list you saw it on. That is a fact about a published chart, and it is the whole of what we are claiming.

Ghost Ship shared a country’s weekly top 10 with 13 other Korean titles across 55 country-weeks in total. The table shows the 11 it sat beside most often, and only those with a page here.

A big number here mostly means the title lasted. A show that held a country’s top 10 for a year sits beside almost everything; a show that charted for one week in one country can sit beside at most nine other titles ever. It does not mean the same people watched both, and it does not mean the two are similar. How we counted this, across every title.