The most awaited Squid Game Season 2 is finally here! With the release of the first season, which became a K-drama phenomenon, other drama works were catapulted onto the world stage. Here’s everything you need to know about Season 2 of Squid Game.
Catering to fans’ interests, all seven episodes of the series will be released simultaneously, allowing everyone a binge-worthy experience. Some of the returning favourites on the cast will include Lee Jung-jae as Seong Gi-hun, Wi Ha-jun as Hwang, Lee Byung-hun as the Front Man Jun-ho, and Gong Yoo as the recruiter. Some of the exciting additions joining the cast will be: Yim Si-wan, Kang Ha-neul, Park Gyu-young, Park Sung-hoon, Jo Yu-ri, Kang Ae-sim, Lee David, Yang Dong-geun, and Lee Jin-uk.
Bringing fresh dynamics and motivation to the deadly games, the new faces will be crucial in picking up the plot where it was left off in its first season, Season 2 will see Seon Gi-hun adamant about unravelling the truths behind Squid Game and avenging the former deaths. The audience can look forward to intense confrontations between the enigmatic Front Man and Gi-hun over differences in their ideologies. With more brutal games, Season 2 will see characters obliged to push their limits.
Meanwhile, director Hwang Dong-hyuk has confirmed that Squid Game will conclude with a third season, set to release in 2025. He expressed his excitement about returning to this captivating world, stating, "It's been almost three years since Season 1 and I am thrilled to bring this story to its conclusion.
Release Date and Time Platform: Netflix Release Date: December 26, 2024 Time in India: 1:31 PM
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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