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The sequence is emblematic of a significant shift in how Asian languages are featured in American film and TV. Just a few years ago, when his Korean dark comedy “Parasite” won the 2020 Golden Globe for Best Foreign Language Film, the writer and director Bong Joon Ho ribbed Americans for their aversion to “the one-inch-tall […] More
A reality show and a live experience are two ways of keeping the dystopian series in the public eye. Is the original’s bleak message being diluted?On the same soundstage where Bob Barker lorded over “The Price Is Right,” “Squid Game” is coming to life.On Wednesday, Netflix will unveil its latest live experience, based on the dystopian hit show in which desperate South Koreans competed in a brutal contest of simple schoolyard games for a prize of 45.6 billion won (around $38 million). Winners moved closer to the money. Losers died. The live attraction mimics both the popular iconography of the series — the massive piggy bank filled with cash, a giant animatronic doll named Young-hee, the sterile white dormitory — and the childish games.For $30, fans of “Squid Game” will compete in some 70 minutes of play, with moral twists and turns and six group activities, including the schoolyard race Red Light, Green Light and a nonlethal version of the series’ terrifying Glass Bridge challenge, which forced contestants to choose between two clear squares for each step across a bridge. If they chose incorrectly, they descended hundreds of feet to their death.To feel even more like a character on the show, customers can buy a tracksuit for $50 and wear it during the experience. There is also a $100 V.I.P. ticket option: In a nod to the original, you can watch the unfortunate masses compete in the games while you sip cocktails in a swanky lounge.“It’s all the fun without the death,” said Greg Lombardo, Netflix’s head of live experiences.A game called Harvest Festival at Netflix’s live experience, which is scheduled to open to the public on Wednesday.Jenna Schoenefeld for The New York TimesNetflix plans to expand the live experience into other cities, but no additional locations have been confirmed. It’s one of several “Squid Game” adaptations that Netflix has planned in the hope of keeping viewers engaged during the long gap between the show’s first season, which debuted in September 2021, and its second, which is filming in South Korea and will come out next year.One is an unscripted English-language competition show, “Squid Game: The Challenge.” Its first five episodes debuted on Nov. 22, and a second batch became available on Wednesday; the final episode will arrive Wednesday.Also coming soon is a video game in which players will be able to compete with characters from the series. A virtual reality game is already available, and in Brazil, Burger King has been offering “Squid Game”-themed food combos in four cities. (Care for an umbrella-shaped onion ring to go with that shake?)The brand offshoots follow a formula that Netflix has employed successfully for other popular shows, like “Bridgerton” and “Stranger Things.” A “Stranger Things” play that the streaming service helped develop will open in London’s West End on Dec. 14.The expansion of intellectual property like the “Squid Game” brand, however, is getting more scrutiny in Hollywood. In recent years, the closest an entertainment studio could get to a sure thing was a franchise spun from a popular piece of intellectual property: A film begets a sequel begets a theme park ride begets a line of consumer products. Now a certain amount of audience fatigue has set in.Marvel films like “Ant-Man and the Wasp: Quantumania” and “The Marvels” struggled at the box office. The recent Harry Potter spinoff, “Fantastic Beasts: The Secrets of Dumbledore,” and the D.C. Comics film “The Flash” also underperformed. The industry has been forced to ask: What deserves franchise-building attention, and when is it too much?“I’d say in general when you have I.P., if you just do too much of something, that can dilute what it is,” Netflix’s chief content officer, Bela Bajaria, said in an interview. “The other thing we look at is, are you being true to the DNA of the show and why people loved it but expanding that connection?”Losing competitors are marked off at Squid Game: The Trials. Jenna Schoenefeld for The New York TimesThe reasons that Netflix is trying to expand “Squid Game” are obvious. Not only is it the most-watched show on the platform but unsanctioned merchandise from the game, including tracksuits and Young-hee dolls, began selling almost immediately after its debut. Netflix now works with two global partners to meet the demand for the green athletic wear, especially around Halloween.Influencers have also capitalized on the show’s popularity. Last year, the YouTube star MrBeast enlisted 456 contestants to compete for $456,000 by playing tug of war and Red Light, Green Light. The video of the content generated 112 million views in the first five days online.With that kind of interest in an outside version of a real-life “Squid Game,” Netflix decided the time was right to try to capitalize with a reality show of its own, but in English, so as not to confuse audiences.“I was very curious how people would react to those games, the situations, the moral dilemmas,” said Minyoung Kim, Netflix’s head of Asian content, who was responsible for bringing the South Korean show to the service.The contests inspired by “Squid Game,” which is shooting its second season in South Korea, include Red Light, Green Light. Jenna Schoenefeld for The New York TimesStill, some question whether a reality show based on the South Korean filmmaker Hwang Dong-hyuk’s bleak view of his country’s class struggles and the global inequities of modern-day capitalism should exist at all.While “Squid Game: The Challenge” debuted at the top of Netflix’s English-language TV list with 20.1 million views and the original show vaulted back into the Top 10, reviews of the reality series have been scathing. Most criticized the 10-episode season for missing the broader critique of capitalist culture that is at the heart of the nihilistic series.A scene from “Squid Game: The Challenge,” a Netflix reality show, displaying an interim cash prize.NetflixThe show drew 20.1 million views when it premiered.Netflix“I see it obviously as an attempt to expand and monetize a franchise, but it seems particularly absurd given the anticapitalist message of the show,” said Miranda Banks, the chair of Loyola Marymount University’s film, television and media studies department.“‘Squid Game’ was a South Korean series, and it’s inflected with the politics of South Korean culture,” she added. “So part of this is not just a translation of the genre, but it’s also a translation of a nation. And in doing that, it is not surprising — and it’s arguably quite hilarious — that it becomes a pro-capitalist dream fulfilled.”The producers of the reality show are aware of the irony. But they said that by hewing as close to the original as possible — the same number of contestants (456) and a life-changing amount of prize money ($4.56 million) — they felt they could create compelling television despite the lower stakes.The live attraction is just one prong of Netflix’s campaign to expand the “Squid Game” brand.Jenna Schoenefeld for The New York Times“This was a drama that was so much about the fact that people who were eliminated were killed,” the producer Stephen Lambert said. “We were obviously never going to do that, but having such a big prize pot meant that when you were eliminated, your dreams died, and they were really big dreams that people had.”(The filming of the reality show has generated its own drama, with complaints from several contestants about “inhumane” conditions. When asked about the complaints, the producers said in a statement that they “take the welfare of our contestants extremely seriously.”)Still, does allowing fans to play along with a social satire cheapen its integrity?Ms. Banks doesn’t believe so.“I think that you probably have the fans who are there for the social commentary and the drama and the state of the game,” she said. “And then you have the people who love to play games. That might be different age groups. It might be different demographics.”A happy ending to Warships at Squid Game: The Trials. Jenna Schoenefeld for The New York TimesFor Marian Lee, Netflix’s chief marketing officer, the brand offshoots are doing their job — bringing renewed attention to “Squid Game” — yet she acknowledges the risks of creating so many versions that relied on the same source.“We have a hugely popular show that basically captures the cultural zeitgeist, but the doll, all the iconography, is carried through to the unscripted,” she said. “For us as a marketing team, how do you make sure that people understand that this is an unscripted version of that, and not the second season yet? You have to make sure that fans are following along: Oh, this is the unscripted version. Oh, this is the live experience. Oh, Season 2 is coming.“The fandom is there. It’s just making sure that we’re able to create distinct moments for each of those things.” More
AdvertisementContinue reading the main storySupported byContinue reading the main storyNetflix Productions Are More Diverse Than Studio Films, Study ShowsThe study, which the streaming giant commissioned, looked at films and TV series from 2018 and 2019.Ali Wong and Randall Park star in “Always Be My Maybe” on Netflix.Credit…NetflixFeb. 26, 2021, 9:30 a.m. ETFifty-two percent of Netflix films and series in 2018 and 2019 had girls or women in starring roles. And 35.7 percent of all Netflix leads during that span came from underrepresented groups, compared with 28 percent in the top 100 grossing theatrical films.Those findings were released on Friday by the University of Southern California’s Annenberg Inclusion Initiative, which Netflix commissioned to look at its own U.S.-based scripted original films and series. The study analyzed 126 movies and 180 series released during 2018 and 2019.“Notably, across 19 of 22 indicators we included in this study, Netflix demonstrated improvement across films and series from 2018 to 2019,” said Stacy L. Smith, who is the head of the initiative and has been studying representation in film and television since 2005, during an online symposium the company held to discuss the survey. She said Netflix had also increased the percentage of women onscreen and working as directors, screenwriters and producers; for Black cast and crew; and for women of color in leading roles.Of the 130 directors of Netflix films in those two years, 25 percent were women in 2018 and 20.7 percent in 2019 — outpacing the feature films released theatrically by other studios over the same period.While Netflix reflects gender equality in its leading roles in television series and films, when every speaking character is evaluated, those roles did not match what the country looks like from a gender and race perspective. Only 19.9 percent of all stories met that mark. For instance, 96 percent of stories did not have any women onscreen who identify as American Indian/Native Alaskan, and 68.3 percent of the content evaluated did not include a speaking role for a Latina. That number rose to 85 percent when it came to speaking roles for Middle Eastern/North African women.Scott Stuber, Netflix’s film chief, acknowledged how crucial those kinds of small parts were to working actors.“The SAG card is everything,” he said, referring to the Screen Actors Guild membership that performers earn by having roles in various projects. “That is the beginning of the dream. We have to be very active with our filmmakers and our casting directors to fix that. That’s the next great artist. That’s the next Viola Davis.”According to the report, L.G.B.T.Q. characters at every level of film and television were marginalized, particularly transgender characters. And just 11.8 percent of L.G.B.T.Q. characters in leading roles were shown as parents.“I was shocked that we are not doing great there,” said Bela Bajaria, the head of global TV for Netflix. “I feel like we are so active in our story lines. But the lack of gay parents in our shows, that’s a clear takeaway.”According to Netflix’s chief executive Ted Sarandos, the company is committed to releasing a new report every two years through 2026.“Our hope is to create a benchmark for ourselves, and more broadly across the industry,” he wrote in a blog post that accompanied the report.The director and screenwriter Alan Yang said during the symposium that he was bullish on the future of inclusion in entertainment, especially at Netflix, which produced a series he created with Aziz Ansari, “Master of None,” and his feature film “Tigertail.”“It’s going to improve a lot if Bela and Scott buy all the shows and films I pitch them,” Mr. Yang said with a laugh.AdvertisementContinue reading the main story More
