Netflix's 'Cashero' and 'The Great Flood' Sweep the Charts... K-Content Dominates Global Rankings

'Cashero' Climbs to the Top, Surpassing 'Culinary Class Wars', 'The Great Flood' Holds 1st Place in Movies for 3 Consecutive Weeks Despite Mixed Reviews

Netflix Non-English Rankings from December 29 to January 4 [Netflix Tudum Capture]
Netflix Non-English Rankings from December 29 to January 4 [Netflix Tudum Capture]

The Korean series 〈Cashero〉 and the movie 〈The Great Flood〉 achieved the remarkable feat of simultaneously claiming the global top spots in their respective categories on Netflix last week.

According to the top 10 rankings announced by Netflix's official site Tudum on the 7th, from December 29 to January 4, 〈Cashero〉 recorded 6.1 million views (the viewing time divided by the runtime), ranking first in the non-English show category.

By country, it ranked first in Malaysia and Thailand, and entered the top 10 in a total of 51 countries, including Korea, Bolivia, and Brazil.

Produced as a Korean-style superhero story, 〈Cashero〉 captivates global audiences with its unique premise that superpowers are activated only by the amount of money held, and using abilities depletes the money.

The scenes where the protagonist Sang-woong (played by Lee Junho) avoids battles to save his precious money added a unique charm to the work.

Released on the 26th of last month, this work started as the second most popular non-English title in its first week and climbed to the top in its second week.

Additionally, in the non-English show category, the Netflix variety show 〈Culinary Class Wars〉, which had ranked first for two consecutive weeks, dropped to third place, while the SBS drama 〈Dynamite Kiss〉 ranked sixth, and the ENA drama 〈Idol I〉 ranked eighth.

In the non-English movie category, 〈The Great Flood〉, starring Kim Dami and Park Hae-soo, maintained its first place for three consecutive weeks despite mixed reviews from critics.

Last week's view count for 〈The Great Flood〉 was 11.1 million, showing a decline compared to 27.9 million in its first week and 33.1 million in its second week, but it still held the lead.

This film starts in the disaster movie format and transitions into a sci-fi genre dealing with motherhood and artificial intelligence, receiving poor ratings of 50 from critics and 34 from audiences on the American film rating site Rotten Tomatoes, yet it attracted many viewers.

It ranked first in 10 countries, including Korea, Hong Kong, and Bolivia, and made it to the top 10 in a total of 80 countries.

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