Hwang Dong-hyuk, the creator of Squid Game, promptly corrected me when I asked about allegations that he lost many teeth from stress when filming the first series. He laughs, “It was eight or nine.” Though the pressure of realizing the innovative Korean drama was excellent, Hwang still needs to receive the financial benefits he feels he is due, even though the show has had great worldwide popularity.
Hwang talks about the difficulties of the first series and the reasons behind returning for a second as he records the much-awaited second season of Squid Game. This dystopian thriller has enthralled viewers worldwide. The creator’s path from almost financial disaster to worldwide recognition is successful and disappointing, particularly in terms of pay from streaming behemoths like Netflix.
What Made Hwang Dong-hyuk Change His Mind About a Second Season?
Hwang vowed that he would never produce another season of Squid Game. The emotional and physical stress was intolerable. “Money,” he answers when I ask what changed his mind about returning for a second run. “Although the first season was a worldwide success, to be honest, I did not make much. Doing the second series will enable me to offset the success of the first one as well.”
Hwang acknowledges he didn’t believe he had correctly delivered the tale he wanted to, so it was not only the financial factor that drew him back. “I left the narrative unfinished,” he says. One of the main motives behind Squid Game’s comeback is a need to develop the story.
How Did the First Season of Squid Game Become a Global Phenomenon?
Quickly rising as Netflix’s most popular show, Squid Game brought South Korea’s television business to the international front stage. The show connected with viewers with its pessimistic comments on income disparity, social divisions, and survival under extraordinary circumstances. Its popularity drives South Korean television into the international scene, but not without cost for its producer.
Hwang experienced great stress during the first series. He notes that he had to write a fresh story for Season 2 after eliminating almost every character. Hwang acknowledges that the strain is considerably more as excitement for the next season mounts. “The stress I feel now is far higher,” he says.
What Has Changed in Hwang's View of the World Since Season 1?
Hwang’s view of the world became even darker three years after the original broadcast of Squid Game. He gestures to the continuing wars, climate change, and growing income disparity that underlie discontent. “Conflicts are playing out fiercely between many generations, sexes, and political camps; they are no longer limited between the rich and poor,” he says.
Hwang notes fresh lines drawn in this divided age: “We live in a time when we are against them.” Reflecting on the planet’s current situation, he asks, “Who’s right and wrong?” These ideas are essential for Squid Game Season 2 since Hwang’s hopelessness about world affairs will undoubtedly influence the story.
How Will the Stakes Change in Squid Game Season 2?
Although the previous season was startlingly graphic, Season 2 takes that violence a step forward, and the stakes are much higher. Reflecting the director’s mounting worry about the world’s rising tribalism, the new games expose deeper factionalism among the competitors. Gi-hun, the first game-winner, returns to the field this season to ruin the game and eliminate candidates.
Actor Lee Jae plays Gi-hun and says his character is more driven and desperate than before. Lee stresses Gi-hun’s motivation: “He’s more desperate and determined.”
The participants’ hostel has been split in two in a novel turn of events. One half features a blue circle, and the other has a massive red neon X symbol branding. Knowing only one competitor will remain alive, participants must decide whether to exit the contest early and survive or keep playing following each game. The majority vote determines the decision, which causes more significant strife and battles among the players. Hwang’s anxiety about the progressively divided society directly reflects this gap.
Why Is the Violence in Squid Game So Important to the Story?
Though Squid Game is recognized for shockingly and perhaps terrifying violence, Hwang is convinced that every element is deliberate. The violence is a commentary on human nature and the results of unbridled ambition and power; it is not gratuitous. “Do we humans have what it takes to steer the world off this downhill path?” Hwang says he pondered himself often during the writing process. I have no idea.
Though Hwang notes that viewers might need help finding apparent answers to these fundamental issues, this existential inquiry will remain a central motif in Season 2. However, he guarantees that some of the first season’s plot gaps will be covered, including why the game exists and what drives the enigmatic Front Man in charge.
What Will We Learn About the Front Man in Season 2?
The second season will explore Lee Byung-hun’s character, the Front Man, more deeply. Lee said viewers will discover more about the Front Man’s emotional journey and past. “People will see more of the Front Man’s past, story, and emotions,” Lee explains. “I doubt this will make viewers friendly to him, but it could enable them to grasp his decisions better.”
Lee, who spent much of the first season with his face covered in a mask and his voice affected, has found great delight in the chance to represent the role free from these restrictions. “Having my face and eyes covered and my voice distorted in the first series was slightly unsatisfying,” Lee notes. “This time, I’m especially enjoying scenes without a mask.”
How Has Hwang's Struggle with Financial Woes Impacted His View of the Industry?
Hwang traveled a long way from the simple path of acquiring Squid Game. He took big loans to help his family throughout ten years of trying to bring the performance to life; when Netflix finally decided to embark on the project, they offered him a meager advance fee, depriving him of any financial benefit from the show’s enormous popularity.
In South Korea’s film and television sector, the disparity between creators’ pay and the massive earnings streaming companies like Netflix generate has become a source of discontent. Although Netflix has invested billions of dollars into the Korean industry, many creators need more support. “Being a movie director is just a job title in Korea; it’s not a means of income,” explains Oh Ki-hwan, vice president of the Korean Film Directors Guild. He notes that Some directors work part-time at other jobs, like taxi drivers or warehouses.
How Are Creators Fighting for Fair Pay and Compensation?
The account of Hwang is joint. Despite the worldwide popularity of their work, several South Korean creators—including directors and writers—have voiced irritation with the streaming model, which leaves them with less financial stability. Writer Park Hae-young also felt the pressure after her drama My Liberation Notes went worldwide on Netflix. “I’ve been writing my whole life. So, to get global recognition when competing with creators worldwide has been a joyful experience,” she says.
Park acknowledges, meanwhile, that her present streaming approach makes her reluctant to commit everything to her next endeavor. “Usually, I spend four or five years creating a drama in the hope that, should it be successful, it helps to ensure my future. Without that, she wonders, what use is working so hard?”
The problem is exacerbated by South Korea’s antiquated copyright laws, which do not give creators ample defense. Many business leaders today are urging the government to change the rules to guarantee that manufacturers pay the creators who enable the content their share of earnings.
The South Korean government responded by realizing the need for reform but saying that the industry should handle the problem. Netflix maintains that independent of the popularity or failure of its series, the platform provides “competitive” pay and assures creators of “solid compensation.”
Will Hwang's Advocacy Spark Change in the Industry?
Hwang’s openness about his financial difficulties has spurred more general discussions about rewards for innovators. By sharing his story, he aims to start industry change, especially given that Squid Game’s popularity shapes the scene of world television.
The second season will expand on the tremendous success of the first. Still, when Hwang considers his difficulties, it is evident that the producer expects more than simply financial benefit from this new chapter.
Hwang claims his teeth hurt after we got back after filming had stopped. Laughing, his tiredness is obvious; he says, “I haven’t seen my dentist yet, but I’ll probably have to pull out a few more very soon.”
Not only the drama on screen but also Hwang’s continuous fight for appropriate compensation in the streaming era will remain a major topic of discussion as Squid Game’s second season prepares to debut on December 26, 2024.
