Streaming service Netflix has officially renewed its hit Korean survival drama series Squid Game for a second season with writer-director Hwang Dong-hyuk promising fans that “a whole new round is coming”.
Hwang also revealed that Song Gi-hun aka player no 456, played by Lee Jung-jae, and The Front Man, a mysterious character essayed by Lee Byung-hun, will reprise their roles. He also teased the return of Gong Yoo, who played the unnamed character of a man in the suit with 'ddakji' who recruits players into the Squid Game, a series of Korean's children games with a deadly twist whose last surviving contestant will be rewarded 45.6 billion won as cash prize.
In a note shared on Netflix's social media pages late Sunday night, the acclaimed director thanked viewers for loving the show, which only saw the light of day 12 years after it was conceived.
— (@)
"It took 12 years to bring the first season of Squid Game to life last year. But it took 12 days for Squid Game to become the most popular Netflix series ever. As the writer, director, and producer of Squid Game, a huge shout-out to fans around the world. Thank you for watching and loving our show. And now, Gi-hun returns. The Front Man returns. Season 2 is coming. The man in the suit with ddakji might be back," Hwang said.
The director, also known for Korean films such as Silenced and Miss Granny, said in this season the audience will be introduced to Cheol-su, the boyfriend of Young-hee, the giant creepy doll that shot lasers out of its eyes in the first round 'Red Light, Green Light' of Squid Game season one.
"Join us once more for a whole new round," he added.
The streamer's announcement comes six months after Hwang said he was in talks with Netflix over "season 2 as well as season 3".
Squid Game released on September 17, 2021, and soon became a global hit for the streamer, topping charts across the world to become the most-watched Netflix series of all time.
According to the makers, the official synopsis of the series reads: "A mysterious invitation to join the game is sent to people at risk who are in dire need of money. 456 participants from all walks of life are locked into a secret location where they play games in order to win 45.6 billion won. Every game is a Korean traditional children's game such as Red Light, Green Light, but the consequence of losing is death. Who will be the winner, and what is the purpose behind this game?"
The wildly popular K-drama also starred Park Hae-soo, Wi Ha-joon, HoYeon Jung, O Yeong-su, Heo Sung-tae, Kim Joo-ryoung and Indian actor Anupam Tripathi.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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