Hellbound 지옥 S1 [2021] + S2 in Q4, 2024

[mademoiselle]

Key Interview - Won Jin Ah

 

[stroppyse]

On 11/21/2021 at 11:44 PM, mademoiselle said:

As this was adapted from a webtoon, I obviously wonder if there was more that weren't shown and leaving it to a potential Season 2 later. 

 

However, the director of Hellbound also wrote and created the webtoon, so I feel as if his vision is consistent. I haven't read the webtoon, so perhaps the story continues beyond where it stops in episode 6, and as you say, it's being saved for a Season 2.

 

I'm not as enthralled with this drama as I was with Squid Game. Perhaps because this drama seems actually darker and more fatalistic, and the religious fanaticism that has been embraced post-time jump seems so brutal. There are more scenes of violence in this drama that I have a hard time watching.

 

In some ways, because the monsters are supernatural, I don't mind them as much as I do the scenes of humans on humans. It seems that no matter how awful supernatural monsters may be, the worst monsters are always the human ones.

[mademoiselle]

2 hours ago, stroppyse said:

 

However, the director of Hellbound also wrote and created the webtoon, so I feel as if his vision is consistent. I haven't read the webtoon, so perhaps the story continues beyond where it stops in episode 6, and as you say, it's being saved for a Season 2.

 

I'm not as enthralled with this drama as I was with Squid Game. Perhaps because this drama seems actually darker and more fatalistic, and the religious fanaticism that has been embraced post-time jump seems so brutal. There are more scenes of violence in this drama that I have a hard time watching.

 

In some ways, because the monsters are supernatural, I don't mind them as much as I do the scenes of humans on humans. It seems that no matter how awful supernatural monsters may be, the worst monsters are always the human ones.

Saw a translated article that says episode 1 to 3 is season 1 of the webtoon and 4 to 6 is season 2. I haven't read it either so I'm not sure how it ended in there and whether it is exactly like the drama with resurrected Park Jung Ja. It ended with potential season 2 and likely if it was received well, it might get one.

 

I agree with your last bit and I think that's the part that the drama is conveying, that humans are and/or can be the worst...and in some ways I feel we are seeing it right now through our experience with Covid... that rather than working together to fight covid humans are turning against one another and inflict violence.

[stroppyse]

3 hours ago, mademoiselle said:

that rather than working together to fight covid humans are turning against one another and inflict violence.

 

Not just with COVID. I think we're seeing racism and tribalism at its worst right now.

[Chocolate]

Maybe someone can read the webtoon season 2 and update us? 😂

 

 

[mademoiselle]

 

@Chocolate Yeah. I just need a summary

[mademoiselle]

 

[Chocolate]

That's quite a good interview of YAH. He talks sense. You look at his almost non-expression in the interview then look at the snippets of his work where his face is so expressive - wow!

 

This is funny! Tagging @ssteph

Spoiler

 

 

 

23 hours ago, mademoiselle said:

@Chocolate Yeah. I just need a summary 

 

I read a tweet that the webtoon S2 will end the same as the drama - in the taxi!

 

Edited November 26, 2021 by Chocolate

[mademoiselle]

@Chocolate He's lost a lot of weight in that interview compared to the snippets of him in his projects. I think movie actors or actors who really love movies/acting have their very unique views of their line of work and films.

1 hour ago, Chocolate said:

I read a tweet that the webtoon S2 will end the same as the drama - in the taxi!

Webtoon S2 is episode 4-6 of the drama.

Edited November 26, 2021 by mademoiselle

[ssteph]

@Chocolate I think YAI's interviews are always inspiring. I like reading his interviews ^^

[mademoiselle]

 

[mademoiselle]

 

[mademoiselle]

Hellbound: Season 1 Review

Damnation awaits us all in Netflix’s bleak but excellent Korean drama Hellbound.

 

By Kayleigh Donaldson

 

What would you do if you knew the exact moment you were destined to die? For a nameless man in the opening scene of Netflix's latest Korean drama, Hellbound, that question is all too real. He sits at a table in a busy cafe, staring at the clock on his phone, sweat dripping from his panicked face. As the clock hits 1:20 p.m., there is silence. A moment of relief flashes on the man's face. And then a rumble rips through the streets, and he meets his preordained fate. A trio of demon-like beasts barge through the city to grab him, beat him senseless, then burn him into a shell of ash and bones. It’s a shocking opening to a series that doesn’t let up the tension for six whole episodes, diving into a world where the threat of damnation turns us all into monsters of a different breed.

 

Yeon Sang-ho, the director of Train to Busan, adapts his own webtoon for a six-part series that has quickly become a social media talking point. It’s hard not to be immediately intrigued by the premise: people begin receiving prophecies from strange creatures that they will soon be dragged to hell for their sins, causing the world to fall into a state of panic and condemnation. That opening scene is a brutal wake-up call of the utmost seriousness of this conceit. There are no winks, nods, or sly jokes to break the tension, no meme-ready moments for Netflix to post on Twitter. Hellbound is 100% serious about its bleak new world. For Yeon, however, the focus is less on the creatures themselves, as foreboding as they may be, than the all-too-human reactions they elicit.

 

The first half of the series focuses on a disparate group of people tied together by the chaos of these creatures. Detective Jin Kyeong-hoon (Yang Ik-june) is called upon to investigate the deaths, a task that seems utterly pointless given that human justice seems utterly irrelevant to this case. Min Hye-jin (Kim Hyun-joo) is an attorney hired to represent a terrified woman who is doomed to damnation. And then there is Jeong Jin-soo, a quietly charismatic figure who heads the New Truth Society, a cult that sees the emergence of these creatures as a sign that humanity has strayed from God's path and must change before it's too late. As played by Yoo Ah-in, probably best known to Westerners for his startling performance in Lee Chang-dong's Burning, Jeong is unnervingly normal, bereft of the fire and brimstone preaching one might expect from a cult leader. Handsome, almost cute, and wholly in control of every moment, he makes it seem completely understandable as to why anyone would be taken by his call for a return to Old Testament-style justice. It's in those moments where his calm facade falls and we see the real toxicity of his gospel that we, the audience, feel his wrath.

 

The wrath of God is one thing, but the judgment of man is revealed to be far more insidious. It seemingly takes no time at all for Seoul society to fall into a trap of hysteria, scorn, and religious propaganda. There's no room for nuance in this new world. You're either a sinner or you're not, and regardless of the seriousness of your supposed crimes, you deserve to suffer. This is most tragically conveyed through the fate of one damned sinner, a terrified single mother named Park Jeong-ja, played by Kim Shin-rok in a heart-wrenching performance that’s a series standout.

 

Yeon spends three episodes achingly developing the roots of this new world, and then there’s a time jump for the second half of the show that reveals the consequences. It’s a nervy move by a series that has several twists that will make you slack-jawed. If Hellbound had ended after Episode 3, it still would have been one of the TV highlights of 2021. Episodes 4-6 show how humanity has changed thanks to the threat of damnation. The sense of despair is still palpable, particularly after we’re introduced to Bae Young-jae (Park Jeong-min), a detective facing the most horrific of news: his newborn baby is bound for hell.

 

Even with this fantastical setup, Hellbound retains a grounded approach in depicting humanity’s eerily familiar response to the unlikely. Even the loudest and most mouth-frothing of reactions feel rooted in our own all-too-human ways. It doesn’t seem all that outlandish to imagine that society’s wealthy elite would pay top dollar to watch a sobbing woman be murdered by monsters, or that lawyers would negotiate an appropriate price tag for what amounts to a human life. Hellbound doesn’t have a particularly hopeful view of people or our societal coping mechanisms. As you watch these “sinners” be pummelled to ashes while crowds watch on, smartphones in hand and not a single one of them willing to help, the series’ message on the agony of human complicity becomes all too clear. Do people truly fear hell, or do they just crave blood?

 

Hellbound's gutsy focus is one well worth investing in.

---

Don’t come to Hellbound hoping for comforting answers to the questions it poses, or the ones you’ll have about its ideas. This is a show as merciless as its monsters. Even in its faint moments of hope, the series understands that there’s no guarantee that humans, who seem to default to their worst in such moments of crisis, will actually listen. This kind of ceaseless nihilism may prove too much for some viewers, especially as a viewing choice for dark winter nights in the midst of a pandemic, but Hellbound's gutsy focus is one well worth investing in. If Netflix chooses to commission a second season (which seems likely given the show’s popularity), then the possibilities for further darkness seem shockingly limitless.

Verdict

Hellbound may be endlessly bleak, but its mercilessly sharp focus on humanity's hypocrisy and evangelical panic reveals a highly gripping drama that holds no punches in exposing our true darkness. This grounded approach to the fantastical offers one of the darkest but most satisfying Netflix series of 2021.

 

source

[mademoiselle]

‘Hellbound’ Creator Yeon Sang-ho Details Season 2 Plans, Teases Third Zombie Movie in World of ‘Train to Busan’

 

Netflix’s latest genre offering from Korea, dark sci-fi thriller “Hellbound,” doesn’t waste any time in getting straight to the action. In the first minutes of the pilot, giant, billowing demons — think The Hulk meets an evil Michelin Man — erupt into the heart of Seoul to torture and scorch to death one of the damned members of the public.

That is, literally damned. The show is set in an alternate reality in which angels appear before individuals who have committed some wrongdoing to tell them of their impending demise. When the time comes, demons barrel onto Earth to mete out a grisly death sentence. In their orbit is The New Truth, a cult-like group of individuals that supports the supernatural arbiters of justice, led by insidious grandmaster Jeong Jin-soo.

 

 

“Hellbound” creator Yeon Sang-ho is perhaps best known internationally to date for acclaimed zombie thrillers “Train to Busan” (2016) and “Peninsula” (2020). The former live-action film — starring Gong Yoo as a father shepherding his daughter to safety amid a zombie apocalypse — was preceded by animated prequel “Seoul Station” released the same year.

 

 

 

Similarly, “Hellbound” began life as a two-part animated film before being extended into a webtoon for Korean digital platform Naver. The latter provided a handy proof of concept for a live-action series that was ultimately commissioned by Netflix. The show is currently the streamer’s top non-English language series globally, just ahead of that other Korean TV sensation “Squid Game” in third place.

In an interview with Variety, working with a translator provided by Netflix, Yeon discusses the origins of “Hellbound,” plans for season 2 and teases a potential third installment in his zombie trilogy that falls somewhere between “Train to Busan” and “Peninsula.”

Tell me a bit about the process of adapting the animated film and webtoon into the live-action show.

The short animation was in 2002, and then the webtoon actually began about two years ago on Naver, with co-creator and cartoon artist Choi Kyu-Seok. During the process of planning and creating the cartoon for “Hellbound,” we did talk about wanting to create a live-action series. However, the webtoons started to [stream] on the platform when I was actually shooting the film “Peninsula.” Before that, we had just been talking about [a live-action series], but after [the webtoon] began on the platform, Netflix and I began to discuss creating it into a live series.

“Hellbound” is such an interesting meditation on good and evil. Is there any sort of local, societal commentary being made here? What was the personal resonance to you?

When my partner Kyu-Seok and I were planning and thinking of the story, and creating the process, we thought of a universe that had very supernatural things happening. So [there are] demonstrations and the prophecies, and then we thought about the kinds of things that would happen in this supernatural or created universe. We kind of just brainstormed all the ideas that we could think of, and then tried to pick from those, thinking, “What can we bring together to create into a single storyline?” The characters that you see in “Hellbound” are very grounded. They’re people you see in the real world. But at the same time, we wanted to make sure that none of the things that happened in this universe would remind you of anything that happened in our real world. And I would say that those two methods were used as a tool for us to create a world that was very believable and convincing. It was almost comparable to a simulation game.

 

 

There are a number of protagonists in the show, and halfway through there is a significant jump in time as well, where we then follow a different protagonist. What was your rationale for this?

When we were working on this story, we were set on creating a world that was comparable to hell, and created by people who are unable to tolerate uncertainty and we wanted to show what the society would look like when convictions are in conflict with one another. In order to do that, it meant that we needed to have multiple characters who had multiple convictions. That’s how I came about having a number of protagonists.

What do you make of the comparisons to “Squid Game,” however misguided they may be? Both shows came out within months of each other and, I suppose loosely, touch on morality in an interesting way.

I personally enjoyed “Squid Game” very much as well. And I feel like the vision that it had within it, being a genre drama, was very relatable and there were a lot of points within the show that I was able to relate to as well. I think that both shows have their own entertainment elements. And as for where those points lie within the show, it’s all different. I think that “Squid Game” was able to really resonate with a lot of people. Also there’s that entertainment factor of drawing from childhood games as well. I think with “Hellbound” as well, these are pieces that lead to a lot of active conversation among the audiences. I think that’s where both of their entertainment factors comes from.

 

We have seen some high-level genre TV projects out of Korea really hitting a nerve internationally in the last year. What do you think is the impetus behind this drive towards genre programming?

Culture is always developed by influencing one another. When I was younger, in Asia, Hong Kong films were all the rage with genres like noir and some of the more kitschy ones. There was also a lot of love within Korea for Japanese animation as well. As a child, I was heavily influenced by all of those great creative works that came from outside Korea and I believe that that was what led me to be the creator that I am today. As for the way that Korean content is so well received and loved by global audiences, I think it’s just that the level of trust that Korean content has gained in the past has accumulated one by one and layer by layer and it has hit a certain point where it’s now become an explosive impetus. I feel like we are very much in that wave.

You’ve talked about wanting to expand your storytelling into a “Yeoniverse”-type world. Could that be with Netflix in the future? What are your plans for season 2 of “Hellbound”?

I will say that it’s true, the process of working with Netflix was very enjoyable on my end. They very much agreed to and related to my creative vision, but they also created an environment where I didn’t have to think about anything else aside from focusing on my creativity in terms of distribution or when or how to release the series. Because “Hellbound” is based on the original webtoons, my partner Choi Kyu-Seok and I have decided that the story afterwards will be told first through the webtoon and, as for whether we would want to turn that into another live-action series, that’s something that we will need further discussion on. As you know, we have only just released “Hellbound” Season 1 and so we didn’t have any time to discuss that issue with Netflix. So I would say this is something we need further discussion on.

“Peninsula” was a hit last year in Korea and in international markets. Do you have any plans for a third live-action zombie installment to make it a trilogy?

I believe that the zombie genre is very traditional but at the same time, depending on what you bring to that, it can be completely new. Personally, I do have some ideas in terms of further development of what happens after “Peninsula.” But as for whether I will create that into a film, it’s something that I do want to do. However, because there are a lot of productions that I’m working on currently, I’m thinking that I have to sort of organize the ideas and work on what I have to work on. Up until now I have been someone who’s been an individual creator. But these days I’m thinking that maybe I need to come up with a system in order to really bring all of my creative visions to life.

What about a TV adaptation for something like “Train to Busan”? Is that in the cards at all?

There are a lot of ideas I’ve been tossing around but I personally think that for “Train to Busan,” I would like to continue that as a film series. In Korea, the circumstances are not very favorable to create a series in the Korean language with visuals that are comparable to “Train to Busan” the film and also, you know, I have to work with … the distributor that we started on the original film as well. So I think taking into consideration all of those conditions, a film series would be the most feasible.

So this would be specifically “Train to Busan” or a film within the “Train to Busan” and “Peninsula” universe?

I would say that — in terms of that universe — they’ll all become related together. “Peninsula” was a post-apocalyptic film that focused on the car chases. The story that I’m thinking about after that would be closer to “Train to Busan,” where the story will be carried out in a small and restricted space. That’s something that I have in mind currently. So in terms of the genre, you could say that it’s between “Train to Busan” and “Peninsula.”

 

source: VARIETY

[mademoiselle]

Hellbound: the South Korean death-fest that wipes the floor with Squid Game

by Stuart Heritage

 

The terrifying Netflix show also deals in violent ends – with demonic smackdowns by CGI brutes – but it’s so much more than Squid Game. This is truly exceptional drama that will be spoken about for decades

 

The easiest thing in the world would be to call Hellbound the new Squid Game. After all, they’re both South Korean dramas, they both deal in violent death and they’re both smash hits on Netflix. This week it was reported that Hellbound had topped ratings in 80 different countries within 24 hours of premiering, and had overtaken Squid Game as the platform’s most-watched show.

 

 

Of course, the comparisons are valid. Squid Game was such a marker – not only in putting Korean dramas firmly in the mainstream, but in underlining the popularity of shows not in English – that it was always going to swallow up the next thing to come along. Remember how every female-fronted comedy was called “the new Fleabag” for years after that show debuted? This is a similar thing, only with screaming Korean people dying in unimaginably horrible ways.

 

However, I desperately hope Hellbound can shake off such easy comparisons. Not only does it deserve to stand on its own two feet, but it also happens to be good. Like, insanely good. Better than Squid Game. Better than most things, even. If you haven’t watched Hellbound, drop everything now and do it.

 

Its premise is just wonderful. Out of the blue, people are visited by an eerie face that materialises in front of them, and told the time and date of their imminent death. And then, just like clockwork, three hulking great CGI brutes burst in from another dimension and pulverise that person in a beatdown that results in full-body incineration.

 

Lots of other work would just leave it there – indeed, the demonic smackdowns have a slight sub-Marvel feel – but where Hellbound thrives is in its willingness to show us what happens around their edges. The sudden knowledge that some force is deliberately choosing certain people to be murdered by supernatural beings instantly reshapes all of society as we know it. Individuals who claim to have an insight into the cause are elevated to messianic status. Vast, ugly conspiracy theories are seized upon by millions. The world’s population finds itself enveloped in a morass of fear and confusion. Before long the demons themselves are reduced to sideshow fare.

 

In that respect, Hellbound is actually more reminiscent of two quieter, more cerebral shows. Although the grabbier “here’s when you will die” hook is lifted straight from The Ring, tonally it has much more in common with The Leftovers and The Returned; shows that shone a light on the fragility of the human experience, that reminded us that it doesn’t take much for everything to fall apart completely. You don’t throw around comparisons to The Leftovers lightly, but Hellbound deserves it.

It’s for this reason that I don’t think Hellbound will permanently steal Squid Game’s crown. Squid Game was a show that, in hindsight, was made with one eye on the internet. The outfits, the masks and the chants were surely designed to fuel memes (as they did), and it was rooted in the sort of easy nostalgia that keeps your parents on Facebook. Squid Game was big and broad and episodic, to the extent that my six-year-old has developed a fairly good understanding of it, based purely on peripheral internet content.

 

But Hellbound is a much darker, knottier affair. There are nods to internet culture – most noticeably in the Arrowhead, a QAnon-esque group that frequently appears to scream hysterical frenzy-whipping claptrap directly on to a livestream – but they are presented more in damnation than overture. Characters here are not just faceless numbers in tracksuits, either, with each one given their own fleshed-out backstory. With every whiplash-inducing twist – and there are a lot – you are forced to feel the full weight of each consequence. It is a lot less fun than Squid Game, and much harder to digest.

 

This is why it is so worthwhile. Hellbound is a truly exceptional drama wrapped in only the lightest of genre thrills. It might currently find itself swept up in Squid Game’s wake, but I guarantee that, of the two, it’s the show that will still be talked about a decade from now.

 

source: The Guardian

 

Although it's also about human behaviour and nature but don't think it should be compared to Squid Game as they're not the same genre or carrying the same message.

 

Edited November 27, 2021 by mademoiselle

[Chocolate]

7 hours ago, mademoiselle said:

This is why it is so worthwhile. Hellbound is a truly exceptional drama wrapped in only the lightest of genre thrills. It might currently find itself swept up in Squid Game’s wake, but I guarantee that, of the two, it’s the show that will still be talked about a decade from now.

 

With respect to the article by The Guardian, I have to disagree.

 

For a person like me who watches dramas and movies purely based on entertainment value, Hellbound was a disappointment.

 

The premise was interesting - but after 2 or 3 prophecies/kills, it became monotonous. Unlike Squid Game, where each game was different and you wonder how the players will get out of it.

 

Hellbound also did not create any emotional attachment between the characters and the audience - the characters were in and out of the drama as if there was a revolving door. Did I feel sad when Jin Su died? Did I emphathise with his motivation? How about the detective and his daughter? The lawyer? I felt some sympathy for Park Jung Ah, but that was because the actress did an amazing job. I was interested in the ending for the baby but that was largely a cerebral interest because I cannot imagine the show will kill the baby without a riot from the audience. Squid Game was the total opposite - the sudden popularity of all the previously unknown supporting actors is testament to how well loved their characters are.

 

A decade from now, I think people would have forgotten Hellbound but will remember Squid Game.

 

[mademoiselle]

@Chocolate My sis finished Hellbound and said the same thing I did - raised more questions than giving us answers. She thought the religious fanatism is the interesting part.

 

40 minutes ago, Chocolate said:

A decade from now, I think people would have forgotten Hellbound but will remember Squid Game.

Don't take that article too seriously. Maybe for that writer he prefers Hellbound over Squid Game. Or it's written to create more interest, which it did coz a friend watched Squid Game because it blew up and wasn't interested in Hellbound based on the preview is now interested (although I have no idea which "good" reviews she read).

Edited November 28, 2021 by mademoiselle

[mademoiselle]

About Drama’s Global Popularity, Possibility Of Season 2, And More

 

Director Yeon Sang Ho of the hit Netflix series “Hellbound” spoke to Herald POP about the actors, what happens after the ending, and more.

 

“Hellbound” is a six-part series set in a world where humans face a frightening supernatural phenomenon: emissaries from hell who appear on Earth without warning and condemn people to hell. Amidst the chaos caused by this terrifying new reality, an emerging religion led by Jung Jin Soo (played by Yoo Ah In) begins to gain popularity, while others desperately search for the truth behind this strange phenomenon. The drama also stars Kim Hyun Joo, Park Jung Min, Won Jin Ah, Yang Ik Joon, and Lee Re.

 

Just a day after its release on November 19, the drama rose to the top of Netflix’s global Top 10 non-English shows. Regarding the show’s massive popularity, the director shared that he was “confused and stunned” to wake up to find “Hellbound” at No. 1.

 

At the same time, many people have found the show to be one that you will either love or hate, and director Yeon Sang Ho was aware of this. He explained, “From the beginning, I created ‘Hellbound’ thinking that it would be a show for people who enjoy this kind of genre or watch deep things, rather than thinking it would please the general public. It’s more surprising that more people are watching and talking about it than I had expected. For ‘Hellbound,’ I built a whole new unfamiliar world, so I think it’s true that it takes some time to immerse yourself in that world.”

 

“Hellbound” was originally a webtoon created by Yeon Sang Ho with writer Choi Gyu Seok. Taking a story that was illustrated in pictures and recreating it in live action required careful attention to the way the supernatural phenomena were depicted. He shared, “Supernatural things suddenly start taking place in a very realistic world, and I wanted it to feel uncanny. I also had the contradictory thought that it should look like something that could happen in real life. But at the same time, I wanted it to look like a subculture film. I thought hard about a result that could satisfy all of this.”

 

He also shared his gratitude for the “Hellbound” actors, saying, “All of the actors who took part worked hard to breathe life into the characters with the same mindset I had when I was first creating this world. What I loved most about this production was not the director or actors, but the many talented artists who came together and performed. In that aspect, I thank the actors and staff.”

Spoilers

On the ending of “Hellbound” being different from the webtoon, the director revealed, “The ending of ‘Hellbound’ existed since the time I was working on webtoon. ‘Hellbound’ was confirmed to become a Netflix series before the webtoon’s serialization ended. I contemplated on how I should reveal the last scene. It’s not that I didn’t include it in the cartoon because it wasn’t ready, but instead, I made the strategical decision to include it in the drama and not the cartoon.”

 

He also spoke up about whether there would be a second season. “I wouldn’t say it’s a second season, but writer Choi Gyu Seok and I had been creating a story since the summer about what happens afterwards. We recently decided that we will work on the next story as a cartoon. I think we’ll be able to showcase the next part as a cartoon around the second half of next year. There aren’t any concrete plans for a live action adaptation, so we’ll have to discuss that in the future.”

 

source

 

@Chocolate Did you read this? The first one 😂

The second 😶

[mademoiselle]

 

 

 

 

[mademoiselle]

 

[Chocolate]

Wonder how they will bring Yoo Ah In back to life...

 

[UnniSara]

On 6/7/2022 at 10:30 AM, Chocolate said:

Wonder how they will bring Yoo Ah In back to life...

 

Wondering the same thing and also her husband too. @Chocolate

[mademoiselle]

On 6/8/2022 at 12:30 AM, Chocolate said:

Wonder how they will bring Yoo Ah In back to life...

I figure just like how the show brings Uri Ji Hwa back to life and not explain a thing of how. xDDDD

 

I'm not sure I want to watch S2...

[wink_]

AKP Staff Posted by Susan Han.

 

Netflix confirms season 2 of 'Hellbound.'

 

 

 

On September 24 KST, Netflix Korea officially confirmed the production of 'Hellbound' season 2.

 

Originally released in November of 2021, 'Hellbound' told the story of a world where supernatural beings deliver death sentences to people, unwarned and unexpected. The fear of these grim reapers gives rise to a religious cult which claims it can predict when people will die. The first season starred actors Yoo Ah In, Kim Hyun Joo, Won Jin Ah, Park Jung Min, etc. 

 

In particular, during the end of season 1, viewers were left in shock due to an unexpected turn of events. Now, director Yeon Sang Ho of 'Train to Busan' and scriptwriter Choi Gyu Suk will be teaming up once again for season 2, picking up the story where it left off while also introducing new characters, stories, and themes.

 

 

'source'

https://www.allkpop.com/video/2022/09/netflix-confirms-season-2-of-hellbound

[wink_]

 By Yonhap News

 

 

Actor Yoo Ah In will be pulled from the second season of “Hellbound,” a Netflix original, the streaming service announced Thursday. Yoo will be replaced by actor Kim Sung Cheol.

 

“Hellbound” tells the story of people suddenly being visited by mysterious messengers who damn them to hell, a cult that arises amid the chaos and those who try to figure out the mystery. The first season of the series starred Yoo, actors Kim Hyun Joo and Park Jeong Min. It debuted at No. 1 on Netflix's list of most-viewed TV shows upon its release in November 2021. Netflix drama Hellbound 2 annouced the official casting lineup Kim Hyun Joo, Kim Sung Cheol, Kim Shin Rock, Lee Dong Hee, Yang Ik Jun, Lee Re while Yang Dong Guen, Jo Dong In and Moon Geun Young will join the cast.

 

 

 

[Netflix]

 

 

Yoo is currently being investigated for illegal drug use after testing positive for cocaine and ketamine, according to police on Wednesday.

 

The police enforced a seizure and search warrant on the actor on Feb. 5 at Incheon International Airport and conducted a rapid urine test. They then asked the National Forensic Service for a detailed analysis of Yoo’s hair and urine samples after the rapid test was positive for tetrahydrocannabinol, the principal constituent of marijuana.

 

Police are expected to summon the actor for questioning as early as next week.

 

 

https://www.yna.co.kr/