The Match

The Match on Netflix, country by country — all 8 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 This is a comparison, not a ranking — we do not publish a league of titles, and a title well above the median is a title that travelled, not a title that is better.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 8 markets in all. The most that held it in the same week was 8 — the week of 2025-05-11.

Every market it ever reached held it at the same time, which is what a simultaneous opening looks like in this data.

How it left. Counting each country separately, it ended 9 runs on a chart. The middle one ended from position 7, and 4 of 9 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.

Where to walk from here

Other Korean titles on this site that share a named person or a credited company with The Match. The reason is given beside each one, because a shared name is the only claim being made — not that the two are alike.

• 12.12: The Day — Hyun Bong-sik, Plus M Entertainment
• Concrete Utopia — Lee Byung-hun, BH Entertainment
• Dream — Ko Chang-seok, Plus M Entertainment
• Project Wolf Hunting — Kim Kang-hoon, Ko Chang-seok
• Addicted — Lee Byung-hun
• Aema — Hyun Bong-sik

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 The Match, 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 2025— 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

The Match production companies

From Wikidata, listed alphabetically. Company names link through to a sheet where we hold one; we publish a sheet only for companies whose catalogue we can see completely, so most names here are text. A credit is not a share of the work — it records that a company is attached, not how much of the budget or the decision it held. Companies inside one corporate group are listed separately because we did not confirm the ownership tree. The credit type is given in English with the original Korean label in brackets, because that label is what the filing says and translating it away would hide the source.

The Match cast

6 names recorded as Korean, alphabetically. Wikidata cast lists are incomplete and skew toward better-known names, so this is not a full cast list and a short one does not mean a small production.

Hyun Bong-sik · Kim Kang-hoon · Ko Chang-seok · Lee Byung-hun · Moon Jeong-hee · Yoo Ah-in

6 of these 6 names have pages of their own here, showing every other charting title they appear in and how far each one travelled. The rest do not, because we hold fewer than two charting titles for them.

Was The Match 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 The Match 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 The Match

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 The Match — the list you saw it on. That is a fact about a published chart, and it is the whole of what we are claiming.

The Match shared a country’s weekly top 10 with 36 other Korean titles across 187 country-weeks in total. The table shows the 10 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.