‘KPop Demon Hunters’ signals rise of ‘Next K’ era beyond borders
Rumi, left, from the U.S.-produced animated film “KPop Demon Hunters,” and Seong Gi-hun (played by Lee Jung-jae) from “Squid Game” / Courtesy of Netflix
When the Netflix animated film “KPop Demon Hunters” topped the platform’s global film chart in both English- and non-English-speaking markets during the week of June 23-29, and “Squid Game” Season 3 simultaneously ranked No. 1 in TV shows, it marked the first time the top spots were both occupied by Korea-related content.
In particular, the global frenzy around “KPop Demon Hunters” is fueling expectations of a “Next K” era.
Unlike earlier stages of hallyu (Korean wave), which centered on Korean-made dramas, films and music exported overseas, the new phase signals the production and consumption of Korean-themed content across borders, regardless of nationality.
Experts say the film represents a watershed moment that could reshape the landscape of K-content creation.
For more than two decades, the Korean wave was defined by Korean-produced content funded by Korean capital and exported abroad.
Beginning with dramas in the late 1990s, hallyu expanded through successive stages — often dubbed versions 1.0 to 4.0 — but always relied on content created in Korea and targeted at specific regions or demographics.
Now, scholars and policymakers argue that “hallyu is over.”
“The era of attaching numbers like 1.0 to 4.0 to specific works is finished. Today, Korean-related content as a whole is receiving global attention," said Yoon Seok-jin, a professor of Korean language and literature at Chungnam National University.
Reflecting this shift, the Korea Creative Content Agency has dropped the term “hallyu” and is promoting a “Next K” strategy.
“We are now at a stage where K-content is attempting to leap into the global mainstream," said Park Hyuk-tae, head of the agency’s industry policy team. "The focus is expanding from ‘Made in Korea’ to ‘Made with Korea.’”
Director Maggie Kang of "KPop Demon Hunters" speaks during a press conference at a theater in Seoul. Courtesy of Netflix
Diaspora and foreign creators at the forefront
One striking change can be seen in who makes K-content. Inspired by Korea’s history and culture, many foreign creators, often based outside Korea, are now producing works.
The production team behind “KPop Demon Hunters” was largely non-Korean but recreated everything from shamanism and K-pop to bathhouses, N Seoul Tower, instant noodles and beef soup in meticulous detail.
Examples abound. Japan’s TBS adapted the narrative structure of Korean dramas and cast a Korean actor in its hit series “I Love You.” A U.S. production company staged an English-language version of the Korean musical “Maybe Happy Ending,” which went on to win multiple Tony Awards.
Diaspora Koreans are particularly prominent. “KPop Demon Hunters” director Maggie Kang, a Korean Canadian, drew on her childhood memories of K-content to create the film.
“Many Korean immigrants struggle with identity, but that itself is a multicultural experience," she said during a recent visit to Seoul. "Globalization of culture can give opportunities to creators with diverse backgrounds.”
Diaspora narratives have long been influential. The Oscar-nominated film “Minari” (2020), the drama “Beef” (2023) and the Apple TV+ series “Pachinko” (2022, 2024) were all made by Korean American creators.
“Diaspora occupies a crucial space on the cultural boundary, which makes audiences abroad more receptive to Korean stories. The domestic industry should actively embrace them," cultural critic Kim Hern-sik said.
Creating a K-generation
The “KPop Demon Hunters” boom has expanded the reach of K-content to new generations. Even children overseas with no previous awareness of Korean culture are humming K-pop songs and learning about gimbap (rice rolls) or Korean bathhouses.
This early exposure is fostering what some call the “K-generation,” whose continuous engagement could lock in long-term global consumption of Korean content.
“The cultural battle over K-content has reached a critical turning point with ‘KDH.’ The domestic industry should seize this momentum to work with global audiences in shaping new values and strategies," Kim added.
Huntrix, the fictional K-pop girl group in Netflix’s animated film “KPop Demon Hunters” / Courtesy of Netflix
At the same time, Korea’s content industry faces structural challenges. “Producers often try to replicate past hits rather than experiment with hybrid cultural elements," Yoon noted. "Everyone wants to reap the fruit, but few are willing to sow new seeds.”
Cultural critic Hwang Jin-mi highlighted another contrast. “Unlike most domestic productions, ‘KDH’ tells a female-centered story, gives little weight to male characters, and excludes the typical romantic arc between a male and female lead. If the same story had been made in Korea, it likely would have ended as a happy-ending romance.”
The “KPop Demon Hunters” phenomenon underscores how K-content is moving beyond national borders, not only in consumption but also in creation.
As K-content evolves from a nationally defined export to a transnational mainstream genre, the “Next K” era may shape global entertainment in ways earlier waves of hallyu never could.
This article from the Hankook Ilbo, the sister publication of The Korea Times, is translated by generative AI and edited by The Korea Times.