logo
Frontman may get 'Squid Game' spinoff, says Lee Byung-hun on 'The Tonight Show'

Frontman may get 'Squid Game' spinoff, says Lee Byung-hun on 'The Tonight Show'

Korea Herald8 hours ago

'Squid Game' star hints at future project on 'The Tonight Show Starring Jimmy Fallon'
Lee Byung-hun, who plays the Frontman in Netflix's global sensation "Squid Game," appeared on the popular talk show "The Tonight Show Starring Jimmy Fallon" this week and hinted at a possible spinoff centered on his enigmatic character.
During the interview, which aired Wednesday, Korean time, on NBC, the veteran South Korean actor discussed his initial reaction to reading the script for "Squid Game." He also shared lighthearted anecdotes regarding his family's surprise when his secret identity as the series' main villain was revealed in season 1.
Reflecting on the show's overwhelming global reception, Lee also admitted he was taken aback by fans' reactions when he traveled to the US to promote the series.
"I've been acting for more than 30 years, and I also participated in some Hollywood blockbuster projects. But 'Squid Game' is a Korean story made by a Korean director with Korean actors and Korean language. I'm so grateful and proud of ('Squid Game''s success)," said Lee, during the interview. The entire interview was conducted in English.
During the interview, Lee also fielded fan questions about the future of the series, teasing light spoilers. Lee confirmed that more characters in the upcoming season will uncover the Frontman's identity — and he didn't rule out the possibility of a standalone project exploring his character's backstory.
In the series, the Frontman, also known as Hwang In-ho, is the mastermind orchestrating the deadly games and a former winner of the Squid Game himself. Much of his backstory remains shrouded in mystery.
"Squid Game" season 3 is set to premiere June 27 on Netflix.
yoonseo.3348@heraldcorp.com

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Busan International Rock Festival unveils second lineup
Busan International Rock Festival unveils second lineup

Korea Herald

time5 hours ago

  • Korea Herald

Busan International Rock Festival unveils second lineup

36 teams unveiled so far, more to come Korea's longest-running international rock music event, the Busan International Rock Festival, has announced its second lineup for this year's event, featuring a strong mix of global legends and top Korean acts. The Thursday announcement revealed the addition of major artists, including Suede, one of the defining bands of the 1990s Brit-pop movement; Mika, a British singer-songwriter of Lebanese descent; Jaurim, a Korean alternative-rock powerhouse; and CNBlue, the band fronted by Busan-born vocalist Jung Yong-hwa. Acclaimed singer-songwriter Lee Seung-yoon, whose unique sound has earned him invitations from festivals nationwide, also joined the lineup. Xdinary Heroes will take the stage amid its successful world tour while Onewe, the band presenting intense yet emotional music, has also joined the list. Rising star Woodz, whose breakout hit 'Drowning' propelled him into the spotlight, is also set to take the stage. Fans can also look forward to performances from electronic rock duo Glen Check and ambient project Redoor, known for capturing the serenity of nature in sound. The lineup further expands with Japan's up-and-coming dream-pop band Muque, as well as a performance by the fully reunited Y2K. Festival favorites 10cm and Touched will also bring a balance of musicality and mainstream appeal to the stage. In addition to the main festival, a series of side events will take place. The Seoul show of 'Road to Bu-Rock,' a pre-festival concert, will be held Saturday and Sunday at Yes24 Live Hall in Gwangjin-gu. 'Rookies on the Bu-Rock,' known for discovering and supporting emerging artists each year, is now open for applications through July 2.

From Master Chef to writer, Choi Kang-rok shares his quiet struggles, new dreams
From Master Chef to writer, Choi Kang-rok shares his quiet struggles, new dreams

Korea Herald

time6 hours ago

  • Korea Herald

From Master Chef to writer, Choi Kang-rok shares his quiet struggles, new dreams

'Culinary Class Wars' celebrity chef opens up about pressure, aging, finding comfort beyond kitchen Known for his creative ideas and star turns on reality shows like Netflix's "Culinary Class Wars," chef Choi Kang-rok appeared at the 2025 Seoul International Book Fair on Wednesday not with a knife, but with a pen in hand — and a surprising amount of self-doubt. 'I'm very embarrassed to put my life into a book,' said Choi, 47, a well-known introvert, speaking slowly but candidly to a crowd at Coex. He attended the book fair as the author of 'Cooking for Life,' his first essay collection and second book following the 2023 recipe book 'Choi Kang-rok's Cooking Notes.' It was selected as one of 10 titles featured in the fair's selection of newly published works. The essay draws from Choi's own experiences, his thoughts about food and cooking, operating restaurants and what it means to live as a chef. 'I wasn't sure if it was okay to put those trivial stories out there,' he said. 'But I ended up writing down the small, everyday things from the life of an ordinary working person.' What he hopes to offer is not inspiration, but connection and comfort. 'Once you put your life into a book, it's kind of frozen in time. That made me hesitant. But if even this kind of experience can help someone feel, 'He's not that different from me. He lives just like the rest of us,' then maybe that shared feeling can be a form of consolation too.' A decade after winning 'Master Chef Korea 2' (2013) and after leading restaurants like Neo (2022-2024), Choi admitted that cooking no longer brings him joy. 'The first 10 years were fun — testing recipes and discovering the process. But these days, I'm quite afraid of how people look at me. I never truly mastered, and then I became a 'Master Chef.' I can feel the unspoken challenge in their eyes, like 'Let's see how good he is,'' he said. 'I've tried to overcome that, and I've gotten better at 'pretending,' pretending I'm skilled, pretending I've done it all before. But it doesn't make things any more enjoyable.' Choi said that presenting a dish means being put to the test. 'Whether you place a dish beautifully or serve it simply, the cook is waiting for the moment it falls apart. The dish must break down to receive feedback. It's a constant evaluation.' Despite his weariness, Choi is still dreaming. He mentioned Netflix's cooking show 'The Blank Menu for You,' where guests place open-ended orders that he interprets into custom dishes, and called it his 'fantasy,' partly because it lets him cook without the pressure of rent or running a restaurant. Another dream is to build a library-cum-kitchen, a place with a cooking space where people can browse his vast collection of cookbooks. Choi reflected on how aging has prompted him to rethink and adapt his cooking for this new phase of life. 'As I approach my 50s, I'm thinking about how both my body and cooking will naturally change with age. I'm preparing for a kind of cooking that evolves with these changes.'

K-drama industry stands at crossroads: experts
K-drama industry stands at crossroads: experts

Korea Herald

time8 hours ago

  • Korea Herald

K-drama industry stands at crossroads: experts

Symbiotic relationship needed for global streaming services, Korean production bodies The Korean drama industry stands at a critical juncture, as experts and industry leaders call for reforms focused on cultivating balanced partnerships with global streaming platforms and safeguarding Korean production companies' IP rights to preserve the nation's cultural influence. At a forum hosted by the Korea Creative Content Agency, leading experts, including professors of media communications and heads of production studios, gathered to discuss the next phase of Korea's content industry. Hong Seong-chang, the head of Studio S, the drama production subsidiary of SBS, emphasized the need for a symbiotic partnership between Korean studios and international streaming services. Stressing that Korean studios should become more than mere subcontractors, he likened the ideal relationship to that between a crocodile and a plover bird -- mutually beneficial. 'The influence of investors is inevitably strong. (Global streaming services) may have requests, for example, preferring certain genres or wanting dramas to be produced in a particular creative direction," he said, during a forum held in Jung-gu, Seoul, on Thursday. "But in truth, there's only one reason Hallyu (Korean Wave) has grown as it has: because we've consistently created content that resonates with Korean audiences. That's what allowed our shows to gain popularity globally. If we had made dramas tailored to the tastes of global viewers from the start, I don't believe Hallyu would have become what it is today," said Hong. 'This is something even global streaming services can't help but acknowledge. We understand best what makes Korean content compelling, and that's something they recognize as well. Moving forward, the ideal strategy is to establish a mutually respectful relationship -- like that of a crocodile and a plover bird.' Amid skyrocketing production fees and fewer shows being made, partially due to Netflix's foray into the Korean drama landscape, Korea Drama Production Association Secretary-General Bae Dae-sik highlighted the industry's precarious state and the critical importance of intellectual property rights. 'The theme of this forum is the next strategy in the global streaming war, and the reason this topic emerged is because the (Korean) drama industry is on the verge of collapse," said Bae. "When producing Netflix originals, handing over IP ownership to Netflix is not something that should be taken lightly. Without retaining IP, hits like 'Squid Game' or 'When Life Gives You Tangerines' end up benefiting Netflix far more than us," said Bae, stressing that the new administration must develop concrete policies and systems to ensure production companies can retain IP. Bae also proposed the establishment of a dedicated professional institution focused exclusively on broadcasting and video content promotion, separate from the current KOCCA. Pointing out that the Korean drama industry's annual production budget —estimated at around 3 trillion won ($2.1 billion) — far exceeds that of the film sector, which has its own institution, he stressed the urgent need for specialized institutional support to help the crumbling industry.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store