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Those ram-don noodles from Parasite: a cheap noodle treat popular with students and not usually found on restaurant menus

  • The World Instant Noodles Association says the average South Korean eats 74 packets of instant noodles a year, making them world’s largest consumers per capita
  • High-end US restaurants added ram-don, or jjapaguri, to their menus, but in Korea you eat it ‘because you either don’t have a lot of time or a lot of money’

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Ram-don, or jjapaguri, might not typically be served with marbled sirloin like it is in the film Parasite, but the dish is still a common one in a country that embraces its love of instant noodles.

A scene in last year’s Academy Award-winning film Parasite, in which the housekeeper whips up instant noodles with finely marbled Korean Hanwoo beef, had viewers around the world drooling.

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The dark South Korean comedy thriller was the first non-English-language film to take home an Oscar for best picture, and won a slew of other awards.

It wasn’t just the film that took off, either – its noodle dish, ram-don, became famous too. YouTube was flooded with “how-to” videos and some US supermarket aisles displayed Parasite posters that pointed out the two types of instant noodles needed to make it. A number of high-end Korean restaurants in New York and Los Angeles even added it to their menus.

The dish isn’t called ram-don in South Korea. There it is known as jjapaguri – a portmanteau of two instant noodle brands, Chapagetti and Neoguri. The name ram-don, created for Parasite’s English subtitles, is simply a hybrid of “ramen” and “udon”.

“This is a dish that’s really meant to be sort of snack food or student grub, something you’re eating because you either don’t have a lot of time or a lot of money,” says Jennifer Flinn, an assistant professor at Seoul’s Kyung Hee University who also studies food.

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The meal cooked in Parasite, topped with premium sirloin, is a far cry from the jjapaguri that Koreans would make at home. Its extravagant interpretation represents director Bong Joon-ho’s critique of the class and wealth divide – a theme that runs throughout the film.
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