American audiences are captivated by Korean dramaAmerican audiences are captivated by Korean drama

After you’ve been paying attention to contemporary culture, you’ll know that “Squid Game” is currently the most-watched television series on Netflix. “Squid Game” is not only bringing in millions of cash for the platform, but it is also introducing millions of people to the world of Korean film – and it is about time.

“Squid Game,” directed by South Korean Hwang Dong-Huyak, has surged into the global streaming ranks. With over 142 million streams since its September 17 debut, “Squid Game” has surpassed worldwide successes such as Netflix’s own “The Witcher” and “Bridgerdon.” This is an incredible achievement, especially considering the game’s $2.8 million budget.

The “Hunger Games”-styled series brings to light a variety of modern-day topics, challenging the existing quo and what we so readily accept. It’s a narrative about labour exploitation, wealth disparity, and defeat in the face of capitalism’s debilitating reality, all brought to life by superb acting and writing.

“We live in a period when individuals unknowingly embrace neoliberal thinking,” director Hwang Dong-Huyak said in a New York Times interview, “therefore I think people may empathise with the scenario.”

“Squid Game” is set in South Korea, a country that, like the United States, suffers from significant income disparity. A hidden organisation headed by masked elites recruits people in tremendous debt or financial distress to participate in a series of classic Korean “playground games” in order to be the lone winner of a 46 billion won prize.

Someone who does not complete the game are eliminated. Literally. Despite the imminent prospect of death, the competitors — who have agreed to participate in these games — determine that living in the real world is a destiny almost as bad as death and continue in the tournament.

It’s nothing new for Korean films to make their way to the West. Films like “Parasite,” directed by Academy Award winner Bong Joon-ho, and “The Handmaiden,” directed by Park Chan-wook, were huge triumphs in American cinemas — but they pale in comparison to Netflix’s newest release’s immense popularity and appreciation.