NEARLY three years ago, when Squid Game released on Netflix, it received global acclaim and got its actors instant fame. Created by Hwang Dong-hyuk, this South Korean series tells the story of a group of desperate contestants, who risk their lives to win a $45.6 billion cash prize in a mysterious but extremely-competitive survival game. When Squid Game: Season 2 releases on December 26, its protagonist Gi-hun, essayed by actor Lee Jung-Jae, will be on a mission to stop the game.
Season 1 ended with a cliffhanger as the winner of contest, Gi-hun, abandons his plans to go to the US to meet his daughter. Instead, now disillusioned, he is determined to find the people behind the game. Though the new season is set in the same world, the characters have undergone some physical and emotional changes. Gi-hun himself has given up his childish ways to become an angry man. This time, he’s much leaner, having being on a diet to stay true to his character’s transformation.
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Talking about the show’s popularity, the Seoul-born actor believes he now has a lot of friends across the globe. “When I travel to other countries, people come up to me and ask me about Korea, about Squid Game and when Season 2 is coming out,” says Jung-Jae.
All three of them feel Squid Game changed the way the world looks at Korean films. Though Lee Byung-hun (Front Man) is not new to international projects, Wi Ha-joon, who plays the police detective Hwang Jun-ho, believes being part of the show is “an honour”.
Earlier, Byung-hun has appeared in Hollywood projects such as G.I. Joe: The Rise of Cobra (2009), G.I. Joe: Retaliation (2013), and The Magnificent Seven (2016). “This time, however, it was meaningful in a different way because this is a Korean series based on Korean culture. It has received so much love. I’m proud to see that Korean content is now at a stage where it wins the hearts of fans all around the world,” he says.
With a set of new games and a darker tone, Squid Game: Season 2, is expected to explore human cruelties, complexities and compassion, all at once.
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Ha-joon calls the character of Front Man one of his favourites on the show. “My character (Hwang Jun-ho) almost died. He barely made it alive. He now tries to track his brother down and also uncovers the truth about the game. So, he has a strong obsession and determination to make this happen. This has made him a stronger, tougher individual who is also very cold-blooded,” says Ha-joon.
In the first season, the audience barely got to see Byung-hun’s face because he was behind a mask. “In Season 1, Front Man plays the manager, monitoring the entire game. But in Season 2, he takes off his mask in many scenes. Also, there will be a long battle featured in the new series between Front Man and Gi-hun, who vows to take his revenge. So, no longer does he play a functional role, but he takes on a more active role,” says Byung-hun. This season will also unveil his character’s personal story, “which will answer many questions about him,” he adds.
‘The games had to be easy to understand for anyone from anywhere in the world’
Writer-director Hwang Dong-hyuk, who became the first Asian to win Primetime Emmy for Outstanding Directing for a Drama Series for Squid Game (2021), is back with the much-awaited second season. He talks about the new season, which will have a set of new games and a darker narrative. Excerpts:
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After the global success of Squid Game 1, did you feel the pressure while writing Season 2?
Yes, I did indeed. Because of the immense success of the first season, I was well aware of the high expectation of the subsequent season. So I tried my very best to make sure that I did not disappoint anyone.
The new season has new characters. How did you go about choosing all of them?
Some were sort of fleeting characters in S1. You might not remember them. I brought some of them back, the character Jeong-bae, for instance. And then there are completely new characters that are brought in for dramatic effect, such as the mother and son characters of Keum-ja and Yong-sik. There’s also another pair, Myeong-gi and Jun-hee, who were lovers once and are now separated. They’re going to add further drama to the story.
How did you choose the games for this season?
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They are based on games I played as a child. It had to be the simplest, for everyone to play. But I sort of modified certain rules, sometimes to combine or divide certain games, so that it could fit into the world of Squid Game. Most importantly, all of the games had to be easy to understand for anyone from anywhere in the world.
Alaka Sahani is a prominent film critic and journalist based in Mumbai. With a career spanning over two decades, she has established herself as one of India’s most authoritative voices in cinematic journalism, known for an analytical approach and insights that transcend the standard cycle of celebrity journalism.
Expertise & Accolades
In 2014, Alaka was honoured with the National Film Award for Best Film Critic. Her Swarna Kamal (Golden Lotus) citation specifically lauded her for "highlighting facets of cinema beyond glamour and gossip" and for her ability to delve into the contemporary relevance of iconic filmmakers. Her commitment to journalistic integrity was further recognised in 2019 with a Special Mention at the Red Ink Awards for her investigative feature, 'In Search of a Star'. Her article titled 'People Like Us', published in The Indian Express on March 27, 2022, was shortlisted for Red Ink Award, 2023.
Global Industry Leadership
Alaka’s expertise is sought after by major international and domestic film bodies:
Golden Globes: In 2025, she joined the international voting body for the 83rd Annual Golden Globes.
National Film Awards: She served on the prestigious jury for the 68th National Film Awards, helping select the finest contributions to Indian cinema.
Global Perspective: Her work consistently bridges the gap between commercial Bollywood A-listers and emerging independent talents, offering nuanced insights into both Indian regional cinema and international film trends.
Focus & Vision
Beyond the screen, Alaka is a dedicated observer of Mumbai’s vibrant theatre scene and the historical evolution of the moving image. Through her long-form articles and deep-dive interviews, she continues to challenge "tried-and-tested" templates, providing readers with a deep understanding of the artistic and systemic workings of the Indian and global film industry. ... Read More
