When I ask Hwang Dong-hyuk, the creator of the global hit Korean drama Squid Game, about reports that the stress of filming the first season caused him to lose six teeth, he quickly corrects me. “It was actually eight or nine,” he laughs.
We’re speaking on set as he films the highly anticipated second season of the dystopian Netflix thriller, where hundreds of debt-ridden contestants battle it out in a series of deadly children’s games for a massive cash prize.
However, a second season was not always in the plans. At one point, Hwang had sworn off making another season due to the immense pressure the first one caused him. So, I ask what changed his mind.
“Money,” he responds without hesitation.
“Even though the first season was a huge global success, to be honest, I didn’t make much from it,” he admits. “So, making the second season will help compensate for the success of the first one.”
“And I didn’t fully finish the story,” Hwang Dong-hyuk adds.
Squid Game’s first season became Netflix’s most successful show to date, propelling South Korea and its television industry into the global spotlight. Its stark commentary on wealth inequality struck a chord with audiences worldwide.
However, with nearly every character meeting a grim fate, Hwang had to rebuild from scratch for the second season, introducing a new cast and a fresh set of games. The pressure this time is even greater, with audience expectations soaring.
“The stress I feel now is much greater,” Hwang admits.
Three years after the first season aired, Hwang’s outlook on the world has grown more pessimistic. He points to ongoing wars, climate change, and the widening wealth gap as signs of a deteriorating global situation. But today’s conflicts, he notes, aren’t just between the rich and poor; they’re intensifying between generations, genders, and political factions.
“New lines are being drawn. We’re living in an era of ‘us vs. them.’ Who’s right, and who’s wrong?” he reflects.
During my visit to the Squid Game set, with its iconic brightly-colored staircase, I began to sense how director Hwang Dong-hyuk’s growing despair about the world would be mirrored in the new season.
In this installment, the previous winner, Gi-hun, re-enters the game, determined to dismantle it and save the latest batch of contestants. According to Lee Jung-jae, who reprises his role as Gi-hun, his character is “more desperate and determined” this time around.
A key change on set is the dormitory, where contestants sleep at night. The floor is now split in two: one side marked with a giant red neon X, the other with a blue circle. After each game, players must choose which side to stand on—either to end the contest and survive or to continue, knowing that only one player will emerge alive. The majority decision will dictate the outcome, leading to more division and conflict among the players.
This setup is part of Hwang’s broader vision to explore the dangers of living in an increasingly polarized world. By forcing players to pick sides, he aims to reflect how such division breeds conflict in real life.
While Squid Game has captivated viewers with its shocking plot, others have criticized its violence as excessive and difficult to stomach. But speaking with Hwang, it’s clear the violence is a deliberate and calculated choice. The director’s deep concern for the world around him drives the show’s narrative.
“When making this series, I constantly asked myself, ‘Do we humans have what it takes to steer the world off this downhill path?’ Honestly, I don’t know,” Hwang reflects.
Though Squid Game’s second season may not answer these profound questions, it will offer some resolution to lingering mysteries, such as the origins of the game and the motivations of the masked Front Man.
Lee Byung-hun, who plays the enigmatic Front Man, teases that viewers will learn more about the character’s backstory, emotions, and the reasons behind his decisions. “I don’t think this will make viewers sympathize with him, but it will give them a deeper understanding of his choices,” Lee explains.
As one of South Korea’s most renowned actors, Lee admits that wearing a mask throughout the first season was “a little bit dissatisfying,” as it prevented him from fully expressing his emotions. However, in the second season, he’s relished the chance to portray his character without the mask, a privilege he nearly missed.
Hwang Dong-hyuk spent a decade struggling to get Squid Game made, even taking out large loans to support his family, before Netflix eventually stepped in to bring the show to life. While the platform paid him a modest upfront fee, it left him unable to benefit from the estimated £650 million that Squid Game has made for Netflix. This situation exemplifies the complex and often fraught relationship between South Korean film and television creators and international streaming platforms.
In recent years, Netflix has aggressively invested in the South Korean entertainment industry, bringing it global recognition and success. However, many creators feel they’ve been left short-changed in the process. They argue that the streaming service’s contracts require them to give up their copyright, thus losing their share of the profits generated by their work. This is a growing issue worldwide, as creators no longer receive a portion of box office earnings or TV reruns, and streaming platforms have yet to adopt a similar profit-sharing model.
In South Korea, the problem is exacerbated by outdated copyright laws that do not sufficiently protect creators’ rights. This summer, a coalition of actors, writers, directors, and producers formed a collective to challenge the system and demand fairer compensation.
As Oh Ki-hwan, vice-president of the Korean Film Directors Guild, explains, being a director in South Korea is often not a financially sustainable career. Many of his colleagues work part-time jobs in warehouses or as taxi drivers to make ends meet.
At a recent event in Seoul, writer Park Hae-young shared her experience after Netflix bought her show My Liberation Notes, which became a global hit. While she feels immense pride in the international success of her work, she’s also wary of committing to another project in the current streaming landscape. “I’ve spent years making shows with the belief that success would secure my future,” she says. “Without fair compensation, what’s the point of all that effort?”
Park and other creators are advocating for a change in South Korea’s copyright law, which would require production companies to share profits more equitably. The South Korean government has acknowledged the need for reform but stated that it is up to the industry to resolve the issue. In response, Netflix insists that it offers “competitive” compensation and guarantees “solid compensation” to creators regardless of the success or failure of their shows.
Hwang Dong-hyuk, in his candid remarks about his own struggles with fair pay, hopes to spark change within the industry. He’s certainly raised awareness about the issue, and the release of Squid Game’s second series is likely to provide another boost to the industry. However, when we catch up after filming has wrapped, Hwang admits that his stress has taken its toll once again.
“My teeth are aching,” he says with a laugh. “I haven’t seen my dentist yet, but I’ll probably need to pull a few more soon.”
The second series of Squid Game will be available for streaming on Netflix starting December 26, 2024.
SOURCE: BBC
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