Every figure we have published and then had to change is listed here, with what it was, what it became, and why. Nothing is edited away. If you have quoted one of our numbers, this page tells you whether it still stands.
A number that changes without notice is worse than a number that was never published, because somebody has already used it. On 7 August 2026 we found that one flaw — matching Korean titles by their text alone — had put wrong figures on seven pages and four articles at once, and that a second, unrelated flaw had been misreading a government table for as long as we had used it. Everything that came out of that is below.
We also publish how each number is made, and every data page names its source and says what it leaves out. This page is the other half of that: what we got wrong anyway.
Korean titles were matched by title text against a Wikidata list. 52 titles Netflix classes on its English-language charts — The Perfect Couple, Suits, The Circle, Hit Man among them — were counted as Korean. Netflix splits its charts by a title's primary language, so only the Non-English charts are counted now. Hand-checking the largest remaining titles removed 8 more.
Same cause as /watched. The page was published after the correction and has never shown the wrong totals, but it rests on the corrected set and says so.
KOSIS table DT_113_STBL_1025706 classifies on two levels — form of export above, type of company below — and returns only the lower name, so several rows a year read 'terrestrial broadcasters' and differ by code alone. We had taken the finished-programme row for three of the four company types while the fourth entered whole. Each type is now the sum of every export form published for it. The residual we described as unattributed did not exist; we had not added it up.
Companies that disclose headcount but not pay were left in the denominator, so their staff were averaged in as if they earned nothing — 456 people in content and 20,613 across the market. Pay is now weighted over disclosing companies only. Tenure, headcount and the gender split come from companies that disclose them and did not move.
The front page data file was hand-made and could not be rebuilt, so it did not follow when the matching rule was corrected. It is now built by a script from the same rule as every other page.
Same matching cause. 42 titles were not Korean — among them two Witcher animations, I Am Legend and Elysium. The distribution the page describes did not change shape; it sharpened.
Same cause as the front page — a hand-made data file that could not follow a corrected rule. It is now built by a script.
Article corrections also appear at the top of the article itself, where anyone reading it will see them. They are repeated here so the record is in one place.
The export figures in this article were wrong when it was published, and the error was in how the source table was read rather than in the arithmetic. KOSIS table DT_113_STBL_1025706 has a two-level classification — the upper level is the form of export (finished programmes, format sales, video and DVD, time blocks, support for overseas Korean broadcasting, other) and the lower level is the type of company. The rows it returns carry only the lower-level name, so five or six rows in each year are all labelled 'terrestrial broadcasters' and differ only by code. We had taken the finished-programme row alone for three of the four company types, while independent production companies, which the survey does not split by form, entered at their full value. Three of the four figures were therefore a fraction of the right number and were being compared against one that was not. Each company type is now the sum of every export form the survey publishes for it. Where the survey also publishes its own subtotal — eight cells across 2022 to 2024 — our sum matches it to within $1,000, and the four types now add to the published annual total exactly in 2024 and within $2,000 in every other year. Terrestrial broadcasters were 81.5% of exports in 2012, not 65.7%, and 7.2% in 2024, not 3.8%; their peak was $278.5m in 2016, not $212.1m in 2014. The article's finding is unchanged and slightly larger than stated: the terrestrial share fell further than we had published, and the 2024 figure is still about a third of the peak. The claim that a residual was left unattributed in the source was also wrong — nothing was missing from the source, we had simply not added it up.
The Netflix figures this article quotes were our own published numbers, and they were wrong. Korean titles had been matched by title text against a Wikidata list, which pulled in titles Netflix classes on its English-language charts — The Perfect Couple, Suits, Hit Man and others that are not Korean — along with same-name collisions inside the Non-English charts such as Teach You a Lesson (China) and Hunger (Thailand). The catalogue is 236 titles and 23.7 billion hours, not 294 and 27.7 billion, and Squid Game is 21.3% of it rather than 18.2%. The ten biggest titles are 41.3%, not 36.4%. The pageview side of this article is unaffected — it comes from Wikimedia and was re-derived unchanged — and the comparison the article makes is unchanged in direction and slightly wider: one title still holds a fifth of the viewing while the most looked-up performer holds 3.1% of the attention. The correlation of −0.16 is computed only from pageview and title-count fields and does not move.
Every count in this article was overstated when it was published. Korean titles were matched by title text against a Wikidata list, and English titles collide across countries, so titles that are not Korean were counted — among them The Perfect Couple and Run Away (United States), Hunger (Thailand), Forgotten Love (Poland) and two Witcher animations. Netflix splits its global charts by a title primary language, and we now use that classification to drop any title Netflix places on its English-language charts, plus a hand-checked list of same-name collisions inside the Non-English charts. The catalogue falls from 448 titles to 405. Every figure and table below has been recomputed. The shape of the finding did not change — it sharpened: the all-six share rises from 43.3% to 44.4%, the single-market share from 29.9% to 31.9%, and the thin middle falls from 26.8% to 23.7%. The country lists carry no language field of their own, so this correction is only as good as the global chart classification it borrows.
Every total in this article was overstated when it was published. Korean titles were matched by title text against a Wikidata list, and English titles collide across countries, so 52 titles Netflix classes on its English-language charts were counted as Korean — among them The Perfect Couple, Suits, The Circle and Hit Man, none of which are Korean. Netflix splits its charts by a title's primary language, so a Korean title belongs on the Non-English chart; we now count those only. Hand-checking the largest remaining titles removed seven more, including Teach You a Lesson (China), The Empress (Germany), Forgotten Love (Poland) and Hunger (Thailand). The catalogue falls from 294 titles to 236 and the total from 27.7bn hours to 23.7bn, a cut of 14%. Every figure and table below has been recomputed on the corrected set, which raises Squid Game's share from 18.2% to 21.3%. One example in the closing section, Run Away, was one of the wrongly-matched titles and has been replaced.
A verification note said the regional figures sum exactly to the published total in all 20 years. They do not: 2017, 2021 and 2022 are off by one thousand dollars, which is rounding in the published table and at most 0.0002% of the year. Every other year is exact. No figure in the article changes; the check was overstated and is now stated as measured.
The weekly charts carry nine columns and none is country of production. Match titles by name, as everyone must, and 17% of Korean viewing sits on names another country also uses. We measured the gap and publish its size.
7 August 2026