Filmmaking often involves sacrifice, but for Hwang Dong-hyuk, the director of the global phenomenon Squid Game, that sacrifice went a step further. “I lost eight or nine teeth,” he shared, recounting the stress that accompanied his initial foray into the gripping dystopian series. Whether intentional or not, Hwang’s words epitomize the investment that creators put into their craft — often at great personal cost.
As he films the much-anticipated second season, Hwang acknowledges the intense pressure stemming from the first installment’s massive success. Despite being celebrated internationally and garnering accolades, he admits that financial rewards did not equate to its notoriety: “Even though the first series was such a huge global success, honestly I didn’t make much.”
This led him straight to the reason for the second series: “Money,” he states bluntly. Yet it’s not merely about financial gain; Hwang feels an intrinsic obligation to complete the narrative arc he initially began. “I didn’t fully finish the story,” he confirms, pointing to a creative drive alongside the monetary incentive.
The dire themes of Squid Game echo wider societal issues, with Hwang expressing a gloomy outlook on contemporary realities like economic disparity and climate crises. As he prepares to introduce a new cast and evolved narratives, he hints that the show will deepen its exploration of human conflict and choices. The new installment promises a more intense experience, emphasizing decisions among contestants that reflect real-world tensions— "It's part of my plan to expose the dangers of living in an increasingly tribal world,” Hwang elaborates.
Complicating the situation further, South Korean creators increasingly express frustration with how streaming platforms like Netflix manage rights and profits. Despite the billions invested by such services in the Korean film and television ecosystem — leading to increased global recognition — many creators feel undercompensated. The long-standing copyright issues in South Korea have left many occupations undervalued, forcing directors and writers to juggle part-time jobs alongside their passion projects.
Conversations are surfacing about reforming existing copyright laws to ensure fair share distribution from the profits generated by creators’ works. In this climate, Hwang’s candid remarks might catalyze much-needed conversations about equity and rights within the industry.
The second season of Squid Game is set to be released on December 26, 2024, and promises to captivate both loyal fans and newcomers alike, hopefully laying to rest some long-asked questions while continuing to challenge societal norms. As Hwang wraps filming, his dental woes serve as a reminder of the price of creativity. “I haven’t seen my dentist yet,” he mentions, “but I’ll probably have to pull out a few more very soon.”
