As the shockingly violent anticapitalist hit returns, its star and creator talk about spinoffs, the dangers of desensitisation, David Fincher’s mooted remake – and why they couldn’t say no to tie-ins with McDonald’s and Uber
When season two of Squid Game dropped, fans were split in their response to Netflix’s hit Korean drama. While some viewers loved the dialled-up-to-11 intensity of everything – more characters, more drama, more staggering brutality – others found the tone relentlessly bleak. And this was a show whose original concept – a cabal of rich benefactors recruit poor people to compete in bloodsports for cash – was already plenty dark. Anyone hoping the show’s third and final season, arriving this week, will provide a reprieve should probably just rewatch Emily in Paris instead.
“The tone is going to be more dark and bleak,” says series creator Hwang Dong-hyuk, through an interpreter. “The world, as I observe it, has less hope. I wanted to explore questions like, ‘What is the very last resort of humankind? And do we have the will to give future generations something better?’ After watching all three seasons, I hope we can each ask ourselves, ‘What kind of humanity do I have left in me?’”
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