Arriving on Netflix in 2019, the Korean historic zombie thriller Kingdom fuses political period drama with relentless undead horror, unfolding in Korea’s Joseon era rather than a modern wasteland. Instead of the fungal outbreaks and road-trip survivalism of The Last of Us, it delivers palace conspiracies, class tension, and plague-born terror.
The Last of Us may be one of the strongest post-apocalypse dramas of the 2020s so far, and it deserves its many award nominations and wins. However, Kingdom consistently outshines it, from its chilling interpretation of zombies to its sharper pacing, tighter plotting, and greater consistency as a complete viewing experience.
Why Netflix’s Kingdom Is Rated So Highly
Kingdom’s Critical And Audience Scores Reflect A Rare Near-Perfect Balance
Awards prestige matters, and The Last of Us has plenty. The HBO drama earned major recognition thanks to Golden Globe nominations and Emmy wins, confirming its industry impact. However, awards acclaim doesn’t always mirror general audiences, and that gap becomes clear when comparing viewer response, especially when stood next to Kingdom.
On Rotten Tomatoes, Kingdom holds a towering 98% critics score and a 91% audience rating. The Last of Us, while still impressive, sits at 94% with critics and a far lower 62% audience score. Both are celebrated, but those numbers suggest Kingdom resonates more strongly and more consistently with viewers.
There are several reasons why Kingdom is rated so highly, and it starts with pacing. Kingdom wastes nothing. Each episode accelerates tension, stacking political intrigue and survival horror without narrative drag. The stakes escalate naturally, and storylines converge with precision. There’s no sense of wheel-spinning or thematic detours, just tightly engineered momentum.
The cast elevates the relentlessness of Kingdom’s plot even further. Crown Prince Lee Chang (Ju Ji-hoon) anchors the story with restrained intensity, balancing royal duty and human fear. Physician Seo-bi (Bae Doona) brings intelligence and moral clarity, grounding the chaos in scientific urgency. Every performance feels purposeful, never ornamental.
Then there’s the setting. The 15th century backdrop of Kingdom transforms familiar zombie mechanics into something distinct. Royal courts, rural villages, and rigid class systems create layered obstacles modern settings rarely provide. The undead aren’t just threats; they’re catalysts exposing corruption, inequality, and political decay.
Even the zombies in Kingdom feel new. Their speed, movement patterns, and eerie stillness in daylight create tactical tension. Action sequences become strategic puzzles rather than repetitive chases. The show’s horror moments are brutal, but they’re built on escalation and visual clarity rather than shock value. Kingdom doesn’t just execute post-apocalypse or zombie genre staples well, it refines them into something sharper, leaner, and more immersive.
Both Are Good, But Kingdom Is A Better Post-Apocalyptic Show Than The Last Of Us
A Historical Setting Helps, But Superior Execution Makes The Real Difference
None of Kingdom’s strengths make The Last of Us weak. It remains a high point for video game adaptations and prestige sci-fi drama. Joel (Pedro Pascal) and Ellie (Bella Ramsey) deliver one of TV’s most compelling surrogate family dynamics, carried by deeply human performances and character-driven storytelling.
The success of TLOU is also impressive because the zombie TV show space is crowded. Shows like The Walking Dead defined modern expectations for survival drama, moral compromise, and long-form apocalypse storytelling. Breaking through that noise requires a shwot to be exceptional, and The Last of Us largely achieves it.
Kingdom benefits from fewer direct comparisons to other zombie shows. Its 15th-century setting sidesteps modern genre fatigue and instantly refreshes the formula. Swords replace rifles. Messengers replace radios. Political hierarchy replaces loose survivor camps. The aesthetic difference is striking.
However, novelty alone isn’t why Kingdom is a better post-apocalypse TV show than The Last of Us. What truly sets Kingdom apart is efficiency. Character arcs are cleaner. Conflicts escalate faster. Revelations land harder. Seasons feel meticulously structured rather than sprawling. Every narrative thread serves momentum.
The tonal balance is sharper in Kingdom, too. Court politics never stall the horror; horror never overwhelms the politics. Each strengthens the other. The result is a cohesive identity rather than alternating modes of storytelling. It’s juggling more than The Last of Us and yet, somehow, delivers a much more satisfying viewing experience.
Zombie fiction thrives on tension, moral strain, and escalating danger. Kingdom delivers all three with greater consistency than TLOU. Its outbreaks feel catastrophic, its power struggles urgent, and its consequences lasting. The Last of Us aims for prestige drama with apocalyptic stakes. Kingdom achieves both without compromise.