Not yet. The break even point for this is 2.9 million, will be tough to break even. The Match has a much lower…
It's being dubbed a box office hit by Korean media. It's already top 5 in domestic films released this year and it looks plausible that it could remain at #1 this weekend.
It doesn't have to make all its money back in Korea. It's releasing in most of SEA this weekend, followed by North America, Oceania, Japan etc. And then VOD and OTT deals.
Why hasn't he done more dramas? Business Proposal and Lovers of the Red Sky were very successful, I expected to…
After A Time Called You came out he filmed a movie that's coming out next month. After shooting that, he rested and held a fan meeting tour. Now he's filming his new drama.
Netflix are still miles ahead of Disney+, both in Korea and worldwide in terms of subscribers. But also in terms…
Well I also spoke of the quality. Two of the top rated dramas on here are 2025 Netflix originals, dramas that also won Baeksang awards. Disney+ did not even have a drama nominated for Best Drama this year.
Netflix are still miles ahead of Disney+, both in Korea and worldwide in terms of subscribers. But also in terms…
Oh, I wish. Sadly those didn't do half as well as Moving, which again was nowhere near the global reach of some of Netflix's hits. The Worst of Evil, for instance, only did well in a handful of regions, primarily in East and South East Asia.
Even a Netflix show such as Mercy for None which came out three days ago already has a much wider reach, making top 10 charts in over 50 countries in Europe, Africa and the Americas in addition to Asia. Disney+ simply isn't there yet in terms of subscribers on the scale of Netflix. Which is why it's really futile to talk of them as if they were in the same league.
Out of curiosity, does anyone know why Korean actors are relatively higher paid? Do they have stronger labour…
Squid Game changed the game for Korean actors on OTT. Netflix have been chasing a similar hit ever since, which includes overpaying the big stars so that they will choose their dramas instead of dramas on other services or on terrestrial broadcast networks.
Disney kdramas put Netflix to shame. They reign supreme in the beginning when they hardly had no competition but…
Netflix are still miles ahead of Disney+, both in Korea and worldwide in terms of subscribers. But also in terms of viewership, impact and overall acclaim. Three of the last four years they've won the Best Drama Baeksang, while Moving remains Disney's only true hit.
This year, Trauma Code and When Life Gives You Tangerines are the biggest hit OTT kdramas (until Squid Game 3), winning awards and holding 9.0+ overall ratings on this site.
Not to mention that Q3/Q4 looks massive for Netflix this year, including the anticipated new drama from Kim Eun-sook, as well as dramas led by Lee Jun-ho and Kim Go-eun.
Unfortunately i think 6 eps are too less for a decent ending. Let's see, hoping for a good ending to a great show
Season 2 & 3 were written and produced together as one 13-episode season. The split is purely for Netflix to make more money/get more subscribers. So these are essentially just the final 6 episodes of the season story arcs that we have already seen 7 episodes of. So they'll have no excuse for not pulling off a satisfying ending in my view.
Main cast roles in two of the most anticipated upcoming dramas, I know that's right. I'm sure he had some ML offers for less high-profile dramas as well, so I respect him for choosing top projects over smaller projects where he'd be the lead. I'm sure it'll lead to better ML offers down the line. 🙏
It's clear from the warm audience reception of The Match and Hi Five that audiences are ready to welcome Yoo Ah-in back, and so is the industry. Hopefully it won't be too long until he's back on a set.
This continues to be #1 at the Korean box office, passing 1 million tickets. Another hit for Yoo Ah-in after The Match also passed 1 million tickets when released earlier this year. 🥳
Maybe this could have been a little better if the director hadn't messed with Yoo Ah In's scenes in the edit, but I think even then, the scriptwriter/director combination just was never gonna work.
The writer is known for thoughtful, realistic dramas with Ahn Pan-seok. This has a similar humanist nerve, but the director seems to have approached it wrong. The marketing as a thrilling end-of-world disaster drama was also clearly idiotic as that's not what the writer was going for at all. Oh well!
1
https://x.com/CJnDrama/status/1933298275026940377
It doesn't have to make all its money back in Korea. It's releasing in most of SEA this weekend, followed by North America, Oceania, Japan etc. And then VOD and OTT deals.
Even a Netflix show such as Mercy for None which came out three days ago already has a much wider reach, making top 10 charts in over 50 countries in Europe, Africa and the Americas in addition to Asia. Disney+ simply isn't there yet in terms of subscribers on the scale of Netflix. Which is why it's really futile to talk of them as if they were in the same league.
This year, Trauma Code and When Life Gives You Tangerines are the biggest hit OTT kdramas (until Squid Game 3), winning awards and holding 9.0+ overall ratings on this site.
Not to mention that Q3/Q4 looks massive for Netflix this year, including the anticipated new drama from Kim Eun-sook, as well as dramas led by Lee Jun-ho and Kim Go-eun.
At least this one doesn't have "movie" in its title.
(https://x.com/kdramacasting/status/1930138493151523032)
The writer is known for thoughtful, realistic dramas with Ahn Pan-seok. This has a similar humanist nerve, but the director seems to have approached it wrong. The marketing as a thrilling end-of-world disaster drama was also clearly idiotic as that's not what the writer was going for at all. Oh well!