Uprising

Uprising on Netflix, country by country — all 77 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 This is a comparison, not a ranking — we do not publish a league of titles, and a title well above the median is a title that travelled, not a title that is better.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 77 markets in all. The most that held it in the same week was 74 — the week of 2024-10-20.

Those two figures are different achievements. Reaching 77 markets over 9 weeks and holding 74 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 78 runs on a chart. The middle one ended from position 8, and 46 of 78 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.

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.

Where to walk from here

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

• Hellbound — Kim Sin-rock, Park Jeong-min
• No Other Choice — Cha Seung-won, Moho Film
• Svaha: The Sixth Finger — Jin Seon-kyu, Park Jeong-min
• 1987: When the Day Comes — Gang Dong-won
• A Korean Odyssey — Cha Seung-won
• A Model Family — Kim Sin-rock

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 Uprising, 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 2024— 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

Uprising 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.

Uprising 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.

Cha Seung-won · Gang Dong-won · Jin Seon-kyu · Jung Sung-il · Kim Sin-rock · Park Jeong-min

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 Uprising 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 Uprising 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 Uprising

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

Uprising shared a country’s weekly top 10 with 44 other Korean titles across 184 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.