
'Squid Game' Season 3 will make you weep
"Squid Game" has always been a spectacle -- bloody, brutal and bracingly political -- but at the same time deeply emotional, grounding its violence in stories of desperation and loss. The final season pushes that even further, delivering its most emotionally devastating chapter yet.
On Wednesday, the press were given a first look at the entire third season, and the six-episode arc amplifies the series' long-standing undercurrent of heartbreak and humanity.
The performances carry much of the emotional heft. While some scenes do aim for overt sentimentality, Lee Jung-jae, who revealed he shed 10 kilograms for the role, delivers a powerful performance that may well bring viewers to tears.
Another particular standout is Im Si-wan. His character's storyline -- which also involves his pregnant former girlfriend Jun-hee (Jo Yu-ri) and his baby -- anchors much of the season's emotional weight. Though ethically problematic, the character is drawn with such nuance that it's impossible to look away. His expressions are haunting; the desperation and anguish apparent on his face lay bare his inner torment.
If there's one letdown, it's the underuse of Lee Byung-hun's Front Man. As the current game master and a former Squid Game champion, the character is rich with narrative potential. But this season, he's largely a distant observer. A possible spin-off focused on his backstory has reportedly been discussed, perhaps in response to how underutilized he is in the main arc.
The finale also addresses the shortcomings raised about season two -- which has received mixed reviews despite the massive success of its debut season.
One reason Season 2 faltered, audiences have pointed out, is that it leaned too heavily on contestant voting and sidelined the games themselves. The issue has now been addressed. Season 3 dials back the focus on the O and X democracy and pivots back to what made the show addictive in the first place — the death games.
This season's games may not be radically original -- one even makes a return from a previous season -- but the thrill lies in how contestants approach them.
The maze sequence teased in the trailer is a standout. A particularly compelling dynamic involves a mother and son placed on opposing teams already teased in the trailer -- their arc becomes one of the most affecting, traumatic threads to watch unfold.
The finale also delivers big on fan service, with a few surprise returns and an unexpected Hollywood cameo that will have fans talking.
What doesn't quite land is the handling of the side plots. As in Season 2, Season 3 splits its focus and two sideline stories emerge — one involving Kang No-eul (Park Gyu-young), a pink-suited guard on a mission to rescue a contestant, and another following Wi Ha-jun's ongoing investigation into the island where the Squid Games are being held. The side plots feel peripheral, and more so as they have little bearing on the core storyline.
Still, these detours don't diminish what the final season ultimately accomplishes. In its closing moments, the final season of "Squid Game" lingers not just on the spectacle of death but also on its emotional aftermath.
"Squid Game" Season 3 premiered Friday on Netflix.
yoonseo.3348@heraldcorp.com

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Korea Herald
a day ago
- Korea Herald
Classic comic 'Kkeobeongi' to become short-form animation
Beloved four-panel newspaper makes AI-powered comeback on Naver Webtoon, 55 years after debut Long before webtoons became Korea's cultural export powerhouse with their vertical scrolling format, kids in the '60s and '70s got their daily dose of comics tucked into newspaper corners. They would flip straight to the four-panel strips featuring a goofy kid with perpetually droopy eyes and a bald patch on the side of his head. That character was Kkeobeongi, created by the legendary cartoonist Gil Chang-deok (1930-2010). Fifty-five years after his debut, this lovable goofball is being reimagined with artificial intelligence and turned into short-form animation for a brand-new generation. Content company KCD Company announced Thursday its reboot project for the classic character. Founded last year by Gil's daughter Gil Hye-yeon to manage the late cartoonist's copyright, the company is breathing new life into the old strips as part of a wider intellectual property expansion. The company said it is using AI technology to transform the static four-panel comics into moving animations. The updated shorts will roll out on Naver Webtoon's new Cuts platform. The project is backed by the state-run Gyeonggi Content Agency, with Seoul Webtoon Academy Chairman Park In-ha serving as project director. Kkeobeongi had quite the run as a fixture of children's comics — starting in Manhwa Kingdom magazine in 1970, moving to the children's edition of The Joongang Ilbo from 1973 to 1977, and then running in The Chosun Ilbo's children's section from 1980 to 1990. All told, the mischievous kid appeared in 1,584 episodes over two decades. The series doubles as a snapshot of Korea's scrappier years. Episodes capture milestones in the country's development, like the opening of Seoul's first subway line in 1974. In one strip, the kid's aunt splurges on exotic treats—pizza and bananas, both considered luxuries back then — but poor Kkeobeongi is too sick to eat them. In another, he sneaks a sip of his dad's prized Coca-Cola, also a rare indulgence at the time, only to get busted. These little vignettes offer glimpses of a country far removed from today's prosperity. The revival also includes publishing complete collections of Kkeobeongi's newspaper and magazine runs, along with reissues of Gil's other beloved works like "Lady Soon-ak-jil," "Jae-dongi" and "Go-jip-se." The team is even recreating Gil's playful handwriting as a custom typeface called the "Gil Chang-deok font" for use in the animations. 'Gil Chang-deok is one of the most cherished cartoonists in Korean comics history,' said Park. 'His characters capture the childhood memories we all share.'


Korea Herald
3 days ago
- Korea Herald
Six Changdeokgung Palace murals displayed together for the first time
National Palace Museum of Korea marks 20th anniversary with historic royal court art exhibition The National Palace Museum of Korea is showcasing all six surviving murals from the Changdeokgung residential halls for the first time in the special exhibition, 'Respectfully Portrayed Murals at Changdeokgung Palace.' Running from Thursday to Oct. 12, the exhibition commemorates the museum's 20th anniversary. The six large-scale murals — produced in 1920 for the Huijeongdang, Daejojeon and Gyeonghungak halls at Changdeokgung — are the last examples of royal court painting in Korea. Measuring up to nine meters wide, the works were originally mounted above interior doors in the palace's reconstructed halls following a 1917 fire. The murals remained in place for over a century before being restored and transferred to the museum. 'These masterpieces bring together over a century of royal history, art and resilience,' said Jeong Yong-jae, director of the National Palace Museum of Korea, during a press briefing on Wednesday. 'It is deeply meaningful to offer the public the chance to appreciate these works, recognized for their historical and artistic excellence as state-registered cultural heritage.' Artists such as Kim Gyu-jin, Kim Eun-ho and Lee Sang-beom blended traditional court styles with modern influences, inscribing their names alongside the phrase 'geunsa' (respectfully portrayed) — a rare expression of personal authorship in art produced by artists of the royal court. The exhibition is divided into two sections: the first presents each mural in depth, including newly restored pieces from Gyeonghungak and a preparatory sketch for 'White Cranes.' 'Kim Eun-ho's original preparatory sketch for 'White Cranes' is being exhibited for the first time, and as you can see, the moon is not included in the initial draft,' said Lee Hong-joo, a researcher at the Exhibition & Publicity Division of the National Palace Museum of Korea. 'The sketch was created as part of a collaborative process to ensure harmony with 'Phoenixes,' the joint work by Oh Il-young and Yi Yong-u displayed opposite it, allowing for final adjustments to be made to the completed painting.' The second section features 'Magnificent Murals Awaken Once More,' a digital installation reimagining the artworks through interactive media. In conjunction with the exhibition, the museum will host lectures, youth workshops, and hands-on programs for families and adults, spotlighting the historical and cultural significance of palace murals in Korea's transition to modern art.


Korea Herald
5 days ago
- Korea Herald
‘Winning Grammy will be a message to every Asian American girl who's ever felt impostor syndrome,' says ‘Golden' songwriter Ejae
From failed K-pop debut to Netflix hit, Ejae's journey shows resilience can rewrite the script Everyone has a dream. Some see it through. Others are forced to let go. For 33-year-old Korean American singer-songwriter Ejae, born Kim Eun-jae, the dream was to debut as a K-pop idol after spending 10 years training at SM Entertainment. But the call never came. Neither in a group nor as a soloist did the powerhouse label see her fit to debut. Instead of turning her back on music, Ejae found another path — one that would lead her to co-write 'Golden,' the soaring anthem from Netflix's megahit 'KPop Demon Hunters,' released in June. The song has made history, reaching No. 1 on the Billboard Hot 100 and topping both the Billboard Global 200 and Global Excl. US charts — a rare feat for a song from an animated film soundtrack. It also claimed No. 1 on the UK Official Singles Chart, becoming the first K-pop track to do so since Psy's 'Gangnam Style' in 2012. Netflix has also reportedly submitted 'Golden' for awards consideration. Ejae's next goal is no longer about becoming a famous singer. It is about winning a Grammy — an achievement she says would carry a meaning far beyond her own career. 'It wouldn't just be a personal milestone,' she said. 'It would be a message to every Asian American girl who's ever felt impostor syndrome in this industry,' she said in an email interview with The Korea Herald. From trainee to songwriter Ejae describes her years at SM Entertainment as 'incredible' and 'character-defining,' instilling in her a work ethic and perseverance that would later sustain her. Learning dance and performance at such a high level also proved invaluable when she began writing for K-pop idols. 'As a trainee, I learned to think about how a song might translate into choreography or a music video,' she said. 'That perspective has shaped my songwriting ever since.' In 2011, Ejae left SM Entertainment to study at New York University's Tisch School of the Arts. Around that time, she discovered the underground SoundCloud scene, drawing inspiration from artists like Ta-ku, Sango and Shlohmo. Making beats became both a creative outlet and a way to cope with the depression that followed her trainee years. Her pivot to songwriting came unexpectedly. 'Some producers in Korea asked me to topline on tracks for fun,' she recalled, explaining how she started by contributing melodies. 'My first song ended up being picked up by a well-known artist. That's when I realized writing wasn't just something I enjoyed — it was something I needed. It became my therapy.' Ejae's trainee period at SM Entertainment ended about two years after she graduated. Her passion crystallized in 2017 when she attended her first SM Entertainment songwriting camp. On the very first day, she penned what would become Red Velvet's hit 'Psycho,' a song born from an argument with her then-long-distance fiance. Released in 2019, the track's success opened new doors and, eventually, led her to the opportunity that would change everything: 'KPop Demon Hunters.' Becoming Rumi and finding 'Golden' Ejae entered the project through composer Daniel Rojas, joining early in the creative process. Together, they wrote some of the first songs that set the tone for the soundtrack. Because she recorded most of the initial demos, the directors invited her to become the singing voice of the film's lead character, Rumi. 'Having been part of the project from the start, I felt deeply connected to her,' she said. 'As a former K-pop trainee, I related to her perfectionism, her struggle to hide her flaws and her drive to chase her dream.' 'Golden,' co-written with Mark Sonnenblick under the guidance of music director Ian Eisendrath, is a pivotal moment in the film. The song reflects each character's struggles, while carrying a message of perseverance. 'There's a bittersweet layer,' Ejae explained. 'Rumi's lyrics reflect her desperation to fix her patterns. It's like her personal pep talk — telling herself not to give up and that she can reach her dreams.' In crafting the song, Ejae also had to meet a personal challenge: hitting Rumi's high notes to showcase her 'crazy vocal skills.' The result is both technically impressive and emotionally resonant, a combination that has resonated with audiences far beyond the film. Beyond 'Golden,' Ejae is especially proud of 'Hunter's Mantra,' the film's opening number that fuses traditional Korean genres like pansori and Arirang with modern pop sensibilities. Pansori is a traditional Korean musical storytelling performance that combines singing, narration and dramatic expression. 'I wanted to bring Korea's rich traditional sounds into the music with my own twist,' she said. 'It's part of who I am.' Chasing Grammy gold For Ejae, the Grammy dream is not just about recognition — it is about representation. 'As an Asian American, specifically a Korean American woman, I don't really see enough people who look like me in the pop and K-pop industry,' she said. 'That's why winning an award for a song about hope and chasing your dreams would be incredibly serendipitous.' As someone who once doubted her skill and talent, fearing that she would be exposed as a fraud, Ejae has message for others who find themselves feeling the same way. 'Your voice matters. Your stories are worth telling. Don't give up,' Ejae says. 'If this song ('Golden') can spark even a little hope in someone to keep going, then that, to me, is the greatest honor.'