Netflix publishes twenty places per country per week — ten films, ten series. It is a fixed pie, which makes it one of the few things about the Korean wave that can be counted rather than asserted. We counted 93 countries with a complete record across 265 weeks, 2021-07-04 to 2026-07-26.
Of the top-10 places Netflix publishes around the world, how many hold a Korean title — and is that share growing?
| All 93 markets | 7.7% | 37,750 of 492,900 places |
| The median country | 4.5% | half the markets sit below this |
| South Korea itself | 49.7% | in 2025 |
Korea's own figure surprises people first. Even at home, in the market where every Korean release lands and the audience needs no subtitles, fewer than half of Netflix's top-10 places hold a Korean title.
| Korean share | Markets | Which |
|---|---|---|
| 20% and above | 10 | South Korea, Vietnam, Indonesia, Malaysia, Taiwan, Thailand, Hong Kong, Philippines, Singapore, Japan |
| 10–20% | 11 | Bangladesh, Peru, Qatar, Saudi Arabia, Bolivia, Nigeria and 5 more |
| 5–10% | 23 | Nicaragua, Sri Lanka, Honduras, India, El Salvador, Morocco and 17 more |
| 3–5% | 18 | Réunion, Kenya, Lebanon, Martinique, New Caledonia, Greece and 12 more |
| 2–3% | 22 | Hungary, New Zealand, Trinidad and Tobago, Uruguay, Belgium, Germany and 16 more |
| 0–2% | 9 | Latvia, Norway, Estonia, Ukraine, United Kingdom, Denmark, Ireland, United States, Iceland |
Every market in the top band is in East or Southeast Asia. The bottom band is northern Europe and the English-speaking world. These are bands, not a league table — we are not ranking 93 countries against one another, and the order inside a band carries no meaning we would defend.
| Year | Weeks | Korean share |
|---|---|---|
| 2022 | 52 | 7.6% |
| 2023 | 53 | 7.9% |
| 2024 | 52 | 7.0% |
| 2025 | 52 | 7.7% |
Four complete years, and the share ends where it started. Only complete calendar years are used here. 2021 has 26 weeks and 2026 has 30 weeks, so they are reported separately rather than blended into a trend (2021: 8.5%, 2026: 7.7%).
| Group | 2022 | 2023 | 2024 | 2025 |
|---|---|---|---|---|
| South Korea | 49.8% | 54.3% | 51.2% | 49.7% |
| The nine Asian markets that were once above 20% | 30.3% | 26.0% | 19.7% | 19.5% |
| The five largest English-speaking markets | 1.9% | 1.3% | 1.9% | 2.0% |
The 9 markets where Korean titles were strongest gave up 10.8 points in four years — better than a third of the share they held. The English-speaking markets did not pick it up. The global average stayed flat because 9 countries falling is a small thing inside an average of 93.
| Market | 2022 | 2025 | Change |
|---|---|---|---|
| Vietnam | 34.1% | 24.2% | −9.9 |
| Indonesia | 34.1% | 24.9% | −9.2 |
| Malaysia | 31.3% | 20.1% | −11.2 |
| Taiwan | 27.1% | 20.3% | −6.8 |
| Thailand | 30.4% | 18.9% | −11.5 |
| Hong Kong | 27.5% | 18.6% | −8.9 |
| Philippines | 27.6% | 19.3% | −8.3 |
| Singapore | 27.8% | 18.3% | −9.5 |
| Japan | 32.6% | 11.2% | −21.4 |
There is no exception. One market falling is a market. All of them falling, across a range of languages, incomes and neighbouring content industries, is the same thing happening to all of them. We print every one rather than the worst or the best.
| Year | Korean share | Korean titles charting | Places per Korean title | All titles charting |
|---|---|---|---|---|
| 2022 | 30.3% | 161 | 17.6 | 1,127 |
| 2023 | 26.0% | 139 | 17.8 | 1,158 |
| 2024 | 19.7% | 100 | 18.5 | 1,248 |
| 2025 | 19.5% | 102 | 17.9 | 1,247 |
A share can fall two ways: the same titles hold fewer places each, or fewer titles get in at all. It is the second. Distinct Korean titles fell from 161 to 102, while what each one did once it arrived barely changed (17.6 places to 17.9). Meanwhile the total number of distinct titles charting rose from 1,127 to 1,247.
There is an obvious way this page could be wrong. We identify Korean titles through Wikidata, and Wikidata records a new title later than Netflix charts it. If our recognition were quietly decaying, recent years would look emptier of Korean content whether or not anything changed. Korea's own chart tests that, because it is measured with exactly the same identification — and it is the chart most densely packed with Korean titles, so a decaying ruler would shorten here first and hardest.
| Market | 2022 | 2023 | 2024 | 2025 |
|---|---|---|---|---|
| South Korea | 49.8% | 54.3% | 51.2% | 49.7% |
It does not sag. It ends within a tenth of a point of where it started while the nine markets lost more than ten points, so whatever moved was not the ruler.
| Week | Korean share | Korean places | Largest single title |
|---|---|---|---|
| 2025-07-06 | 16.1% | 300 | Squid Game — 240, 80.0% |
| 2025-01-05 | 15.2% | 282 | Squid Game — 186, 66.0% |
| 2024-12-29 | 15.1% | 280 | Squid Game — 186, 66.4% |
| 2024-11-10 | 2.0% | 37 | A Virtuous Business — 8, 21.6% |
The last row is the lowest week in the record: across 93 countries and 1,860 published places, Korean titles held 37. The highest week in five years is four-fifths one show. What moves the global figure is not a rising tide of Korean content — it is whether one enormous title happens to be out. The full story →
Does the Korean share of the world's top-10 places have a season?
| Month | Korean share | Without that month’s biggest title | That title |
|---|---|---|---|
| January | 8.4% | 6.8% | Squid Game 20.4% of the month |
| February | 7.6% | 6.7% | All of Us Are Dead 12.6% of the month |
| March | 7.4% | 6.8% | The Glory 7.8% of the month |
| April | 7.8% | 7.1% | Bloodhounds 10% of the month |
| May | 7% | 6.5% | My Royal Nemesis 6.4% of the month |
| June | 6.7% | 6.2% | Hierarchy 7.4% of the month |
| July | 8.5% | 7.3% | Squid Game 15.6% of the month |
| August | 7.7% | 7.3% | Extraordinary Attorney Woo 6.3% of the month |
| September | 8.8% | 8.2% | Bon Appétit, Your Majesty 7.4% of the month |
| October | 7.9% | 6.9% | Squid Game 13.8% of the month |
| November | 6.6% | 5.8% | Squid Game 13.4% of the month |
| December | 7.4% | 6.6% | Squid Game 11.6% of the month |
The whole monthly range is 2.2 points — 6.6% in November to 8.8% in September, against 7.7% for the year. Remove each month’s own biggest title and the band becomes 2.4, so the swing is not one title. Squid Game is the biggest Korean title in 5 of the twelve months.
Set that against the weekly figures above: 2% to 16.1% is a range of 14.1 points, 6.4 times the monthly one. The calendar is not what moves this number. The full story →
A title enters this count because its name matches a Korean work in Wikidata. The rule that keeps foreign works of the same name out is Netflix's own Non-English label — but that label exists only on the global charts. A title that never reached a global top 10 has nothing to check against, so we keep it. That is not the same as confirming it.
| Of the 37,750 Korean chart places | Places | Share |
|---|---|---|
| Carry Netflix's Non-English label — checked | 31,143 | 82.5% |
| No label at all — kept because we could not check | 6,078 | 16.1% |
| Label says both — the name is on an English chart too | 529 | 1.4% |
We had published the title count for years and never this one. Saying "197 titles carry no label" sounds like a rounding error; saying 16.1% of the places behind our headline figure rest on titles we could not check does not. Both are true, and the second is the one that matters when you are deciding whether to use the number.
Netflix labels a title Non-English on its global charts, and that is the label we use to exclude English-language works with the same name. Country charts carry no such label, so a title that never reached a global top 10 has nothing to check against. We keep those rather than drop them, and this is how much of the total rests on them.
A second, independent check. The language label asks whether a title isnot English. It does not ask which work this is. For that we hold a Wikidata item number, matched by number rather than by name — and 99% of the places above sit on titles that have one. The remaining 379 places (1%) entered on a name match alone.
The two checks catch different things and neither is a superset of the other, which is why both are printed. A title can carry a Wikidata number and still have no language label, and the reverse happens too.
Korean titles hold 7.7% of the world's Netflix top 10 places — 37,750 of 492,900. Of those, 82.5% carry the label we use to exclude same-name foreign works. 16.1% carry no label at all, and we keep them because we cannot check them.
9 August 2026
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.
8 August 2026
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.
8 August 2026
Month by month, Korean titles hold between 6.7% and 8.9% of the world's top-10 places. Remove each month's biggest title and the band gets wider, not narrower. What moves this number is releases, not the calendar.
8 August 2026