Hallyu and Netflix: Difference between revisions

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The production team traveled to South Korea and carried out research to make sure the film portrayed authentic Korean culture. ”KPop Demon Hunters” captured scenery of daily Korean life and culture. Various scenes of the film captured places such as the [[Gyeongbokgung Palace]], [[Bukchon Hanok Village]], [[Namsan Tower]], Korean bathhouses, and Haniwon (traditional Korean medicine clinic). The soundtrack of the film was developed in collaboration with people working in the K-Pop industry to create music that would speak to the fans of K-pop. Top songwriters and K-Pop music producers participated in the soundtrack project.<ref>BBC 2025</ref> The fictional K-Pop group Huntrix’s song “Golden” dominating the music charts of Western music market as top hits is symbolic. The achievement of the film’s soundtrack demonstrates the collaborative power between Netflix and Hallyu.

The theme of cultural hybridity appears in the story of ”KPop Demon Hunters”. The film mixes traditional Korean culture with contemporary K-Pop into its plotline and depictions of characters. The K-Pop girl group Huntrix doubles as secret guardians protecting their fans and the world from evil spirits. The girl group Huntrix uses swords in fighting the demons that resemble the actions of Korean shamans, driving out the evil spirits. The animal mascots appearing in the scene such as the tiger Derpie and the magpie Sussy draw from traditional folktales and paintings. Kpop Demon Hunters not only portrayed vibrant cultural scenes attracting global audiences, but the underlying message of the film reflected the idea of self-acceptance through its characters. Even if K-Pop was unfamiliar, people were able to resonate with the protagonist Rumi of Huntrix’s journey of accepting her identity.<ref>BBC 2025</ref>

The theme of cultural hybridity appears in the story of ”KPop Demon Hunters”. The film mixes traditional Korean culture with contemporary K-Pop into its plotline and depictions of characters. The K-Pop girl group Huntrix doubles as secret guardians protecting their fans and the world from evil spirits. The girl group Huntrix uses swords in fighting the demons that resemble the actions of Korean shamans driving out the evil spirits. The animal mascots appearing in the scene such as the tiger Derpie and the magpie Sussy draw from traditional folktales and paintings. Kpop Demon Hunters not only portrayed vibrant cultural scenes attracting global audiences, but the underlying message of the film reflected the idea of self-acceptance through its characters. Even if K-Pop was unfamiliar, people were able to resonate with the protagonist Rumi of Huntrix’s journey of accepting her identity.<ref>BBC 2025</ref>

== Impact ==

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== Bibliography ==

Clark, Travis. “Netflix reportedly spent $21 million on ‘Squid Game,’ its all-time biggest hit. Here’s how that compares to other show budgets.” Business Insider, October 31, 2021. https://www.businessinsider.com/how-netflix-squid-game-budget-cost-compares-to-other-shows-2021-10#:~:text=Follow%20Travis%20Clark,alert%20straight%20to%20your%20inbox!&text=Netflix%20reportedly%20spent%20$21.4%20million,Apple%20have%20movie%2Dlike%20budgets

Corbett, Eryn. “Squid Game Season 3 Takes Over with Record-Breaking Global Debut at No. 1.” Tudum by Netflix, July 1, 2025. https://www.netflix.com/tudum/articles/top-10-june-23-2025

“‘Descendants of the Sun’ Sets New Standards for K-dramas in 2016.” The Korea Times, December 25, 2016. https://www.koreatimes.co.kr/entertainment/shows-dramas/20161225/descendants-of-the-sun-sets-new-standards-for-k-dramas-in-2016.

Ewe, Koh. “KPop Demon Hunters goes Golden with Billboard chart-topping hit.”, BBC News, August 12, 2025. https://www.bbc.co.uk/news/articles/cvg3n5m1ymko

Han, Hee‐Joo, and Jae‐Sub Lee. “A Study on the KBS TV Drama Winter Sonata and Its Impact on Korea’s Hallyu Tourism Development.” Journal of Travel & Tourism Marketing 24, no. 2–3 (2008): 115–26. https://doi.org/10.1080/10548400802092593.

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Lee, Julie. “The Making of a Global Sensation: The Journey to Creating ‘Squid Game.’” Netflix News, September 30, 2021. https://about.netflix.com/en/news/the-making-of-a-global-sensation-the-journey-to-creating-squid-game

Lee, Julie. “‘We Made History Together’ — ‘Squid Game’ Creators, Cast and Crew Celebrate Barrier-Breaking Emmy Wins.” Netflix News, September 15, 2022. https://about.netflix.com/en/news/squid-game-emmy-awards-press-conference

Lee, Julie Yoonnyung. “KPop Demon Hunters: How the Netflix film became a global sensation.” BBC Culture, July 16, 2025. https://www.bbc.co.uk/culture/article/20250715-the-animated-k-pop-film-that-swept-the-world

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Netflix. “Netflix Korea, the story so far.” Netflix News, September 29, 2025. https://about.netflix.com/en/news/netflix-korea-the-story-so-far

Netflix “The Ripple Effect of K-Content: How Netflix Viewers Are Embracing Korean Culture.” Netflix News, September 25, 2025. https://about.netflix.com/en/news/squid-game-emmy-awards-press-conference

“New Hallyu Dawns on ‘Descendants of the Sun.’” The Korea Times, April 3, 2016. https://www.koreatimes.co.kr/entertainment/shows-dramas/20160403/new-hallyu-dawns-on-descendants-of-the-sun.

Newman, Vicki. “All the records Squid Game has broken as Netflix hit returns for third and final season.” Guinness World Records News, June 27, 2025. https://www.guinnessworldrecords.com/news/2025/6/all-the-records-squid-game-has-broken-as-netflix-hit-returns-for-third-and-final-season

Romero, Ariana. “How Do You Play the Games in Squid Game? Here Are the Rules for Seasons 1-3.” Tudum by Netflix, July 17, n.d. https://www.netflix.com/tudum/articles/squid-game-games-explained

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Yim, Hynsoo. “’Netflix Effect’ lifts Korean content but market control worries grow.” Reuters, June 20, 2023. https://www.reuters.com/business/media-telecom/netflix-effect-lifts-korean-content-market-control-worries-grow-2023-06-19/

Young, Jin Yu. “For South Koreans,‘Squid Game’ Was More Than Just Entertainment.” The New York Times, June 29, 2025. https://www.nytimes.com/2025/06/29/world/asia/south-korean-squid-game-entertainment.html#:~:text=The%20success%20of%20its%20first,like%20beauty%20products%20and%20food

== References ==

The origins of Hallyu, or the Korean Wave, date back to the late 1900s, when South Korean popular culture, specifically television dramas and even popular music, first attracted attention across East and Southeast Asia. In response to this, the term Hallyu was coined and popularized in 1997 by a Chinese newspaper, which noted the sudden and rapid rise of Korean culture in the region.^[1] This highlights that Hallyu was part of a movement in which Korean media began shaping global cultural flows, influencing how audiences understood and engaged with cultural identities and practices worldwide. As a result, this period, often referred to as Hallyu 1.0, or the first wave, was characterized by regionally circulating Korean dramas, music programs and film releases promoted through area broadcasters and traditional distribution channels. In fact, early hits such as Autumn in My Heart, Jewel in the Palace and Winter Sonata played a key role in establishing Korean television drama as a recognizable export. For instance, Winter Sonanta’s financial impacts, both direct and indirect, which included “the sales of related products and the increase [in] foreign visitors, came to 107.2 billion yen in Korea and 122.5 in Japan for a combined 230 billion yen.”^[2] This early success illustrates the commercial and even monetary potential of Korean media abroad and, most importantly, sets the stage for a more digitally connected and universally engaged audience, paving the way for the emergence of Hallyu 2.0 in the following years.

Hallyu 2.0 and Beyond

[edit]

By the late 2000s, a second wave of Hallyu emerged, driven by increasing advances in digital distribution, the development of social media and an expansion of international connectivity, helping to facilitate translation and promoting participatory engagement. This shift exemplifies a new form of transnational networking and communication shaped by audiences themselves.

This period also saw South Korean entertainment companies adapting production strategies to appeal to audiences worldwide. Higher production budgets, genre experimentation and continuously more cinematic storytelling broadened the far-reaching charm of Korean dramas. This reflects a strategic effort to strengthen Korea’s position within Asia and, most significantly, meet the expectations of an intercontinental, digitally interconnected viewership that demands polished, export-ready content. These developments cemented the second wave of Hallyu as a global and digital cultural phenomenon, operating beyond the scope of Hallyu 1.0.

By the early 2010s, improvements in streaming technology and the evolution of international streaming services created new distribution channels for Korean content, paving the way for extensive partnerships between Korean entertainment producers and international platforms such as Netflix. In fact, many producers in the broadcasting industry, interviewed by doctoral student Taeyoung Kim of Simon Fraser University, “considered that the entry of Netflix … into domestic media production would provide opportunities for many creators in the field.”^[3] Such sentiments reflected a broader industry recognition that worldwide streaming platforms could amplify Korean entertainment beyond regional boundaries and markets. This novel and widespread digital distribution infrastructure empowered the success of later Korean titles and positioned Hallyu as a central component of global popular culture.

Components of Hallyu

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The global expansion of Hallyu has been closely tied to the integration of digital technologies, which have facilitated a transnational cultural exchange, turning Hallyu into a world phenomenon shaped by both Korean producers and the networks of intercontinental audiences who engage with, adapt and promote Korean media across all borders.

Integration of Digital Technology

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Social media platforms have emerged as a central driver of the Korean Wave, encouraging global fan engagement, content distribution and promotion. Fans use YouTube, TikTok, and Twitter (X) to share clips, create edits, participate in K-pop dance challenges, and translate songs for all audiences, Korean and non-Korean. These platforms also further exposure, where popular content can quickly attract millions of views and prompt online discussions across countries.

Beyond content sharing, social media supports direct interaction between artists and fanbases through livestreams, Q&As and real-time feedback on posts. It also enables collective fan participation, including subtitling groups, translation projects and organized streaming initiatives, which help overcome language and regional barriers. These mechanisms spread the influence of Korean media and foster participatory, cross-cultural fan communities that actively sustain the momentum of Hallyu outside traditional broadcast networks.

Before digital platforms took center stage, public networks such as KBS, MBC and SBS were key exporters during the first wave. Cable networks such as tvN and JTBC later widened genre diversity and contributed to the rising popularity and sophistication of Korean productions. These companies often collaborated with overseas distributors to bring Korean dramas to viewers in East Asia, the Middle East and beyond, building the groundwork for later interactions with global streaming services.

Netflix has played a transformative role in globalizing Korean media by providing large-scale, officially licensed distribution to international viewers. Its investments in original productions have supported high-budget, genre-diverse projects, ranging from historical thrillers to dark fantasy and webtoon adaptations. The platform’s structure for subtitling and dubbing in multiple languages allows simultaneous worldwide releases, fostering real-time discussion and engagement among viewers across different countries.

In addition, “Netflix’s streaming features, such as content-based recommendation algorithms … serve as technological affordances for both the new viewership of Korean content and established Korean content viewers,” amplifying the global fanbase.^[4] In fact, its partnerships with Korean studios have encouraged experimentation with new and creative narrative styles, cinematic techniques and production values, contributing to the universal appeal of Korean media. By combining accessible global distribution, technological infrastructure and strategic investment in content diversity, Netflix has significantly accelerated the scale, visibility and mainstream acceptance of Hallyu.

Hallyu embodies transnational audience engagement through the synergy of digital technology integration and consumption. The audience drives a new pattern of consumption at the grassroot level. The Hallyu industries provide a vibrant culture and community accessible to consumers and fans. The consumers and fans drive Hallyu by actively engaging in the open digital space. Hallyu fans have shared their feelings, networked with each other, and translated content, overcoming language barriers.^[5] Before Hallyu industries exported their productions overseas, the fans served as the critical driver in expanding the circulation of Korean content. Big Korean media corporations such as Naver or Kakao responded to the voices of fans by exporting Korean productions and providing multilingual services. The Hallyu industries showcase the culmination of grassroot and corporate convergence, helping Korean cultural productions reach to global audiences.^[6]

The transnational wave of Hallyu challenges the cultural imperialism of Western dominance in popular culture. Hallyu embraces the notion of cultural hybridity in terms of consumption and content. The audiences and fans consuming the productions of Hallyu are able to create a digital third space. Hallyu moves beyond the traditional market exchange through a bottom-up approach primarily driven by the consumers. The theme of hybridity appears with Hallyu contents not strictly restricted to authentic Korean culture but a cultivation of mixed cultural forms, tangible for reappropriations. ^[7] The hybridity component allowed Hallyu to produce new content and thrive on unconventional digital media platforms such as Netflix, the pioneer of digital streaming services.

Relationship Between Hallyu and Netflix

[edit]

The relationship between Hallyu and global streaming platforms is exemplified by Netflix, which has become a pivotal player for the international distribution of Korean media. Prior to Netflix’s involvement, however, Korean dramas such as Descendants of the Sun had already achieved notable universal popularity through traditional broadcasters and regional streaming services, illustrating the existing demand for Korean television and providing context for understanding how Netflix’s investments and reach contributed to the ensuing spread of Hallyu.

An Examination of Korean Media

[edit]

Descendants of the Sun

[edit]

Descendants of the Sun is a romantic melodrama produced by KBS, following the relationship between a South Korean special forces captain and a humanitarian doctor stationed in the fictional country of Uruk. The production distinguished itself through overseas filming and integrated action sequences and effects that were uncommon for Korean television at the time, signaling a shift toward more cinematic storytelling in domestic dramas.

Context and Distribution

[edit]

Released prior to Netflix’s involvement in Korean media, the international circulation of Descendants of the Sun relied primarily on traditional broadcast advertising and partnerships with Chinese streaming platforms, such as iQiyi. The drama quickly generated massive viewership in China, achieving “more than 1 billion [views] on the internet,” and also reached large audiences in Southeast Asia, Japan and parts of the Middle East.^[8] Its success in these markets was further supported by targeted marketing campaigns, social media promotion and the transnational distribution of fan-subtitled content.

The series is widely recognized as a pivotal moment in the first phase of Hallyu’s global expansion. Its commercial success signified that Korean dramas could achieve cultural prominence across multiple continents without the support of an international streaming platform. According to The Korea Times, Descendants of the Sun “revived Hallyu … that was in decline over recent years,” signaling an international appetite for Korean television.^[9] The drama also influenced following Hallyu content by establishing the viability of genre hybridity, combining romance, action and social themes, while reinforcing the international appeal of narratives rooted in Korean cultural and social contexts.

Crash Landing on You

[edit]

Crash Landing on You, which was originally aired on tvN, tells the story of a South Korean heiress who, after a paragliding accident, lands in North Korea and develops a relationship with a North Korean army officer. The series merges romantic melodrama with political tension, comedic elements and interpersonal drama and is noted for its attention to cultural and geopolitical detail, creating a sense of realism that enhanced the narrative’s universal appeal.

Context and Distribution

[edit]

While not originally produced by Netflix, the service acquired global distribution rights shortly after the series aired domestically. Netflix provided subtitling in multiple languages, greatly enhancing accessibility in markets where Korean dramas were previously considered niche. The platform’s recommendation system and world reach contributed to the series gaining significant acclaim and demand in regions outside Asia, including the United States, Europe, the Middle East, and India. This represented one of the first instances in which Netflix effectively converted a domestically successful cable drama into an intercontinental phenomenon through international access and intentional digital reach.

Crash Landing on You is considered a landmark in the second phase of Hallyu, representing how streaming services can actively stretch the universal audience for Korean dramas. The series advanced the normalization of watching Korean content and introduced complex narratives and cross-cultural themes to viewers. In fact, as Green and Epstein indicate, the “near immediate subtitled Netflix release … in multiple jurisdictions proved a clear success with overseas viewers,” underscoring how Netflix made the drama accessible around the world.^[10] To add, the drama’s detailed portrayal of North Korea led the series to be named “the most noteworthy South Korean popular culture representation of North Korea ever produced.” ^[11] These successes impacted production and distribution strategies for future Korean series, highlighting the significance of international accessibility, multilingual support and digital marketing.

Together, the two series encapsulate the evolution of Korean dramas from regionally popular exports to globally consumed media, spotlighting the increasing role of streaming platforms in shaping Hallyu. These developments set the stage for future successful Netflix-era productions, including Squid Game and KPop Demon Hunters.

The actual making of Squid Game took more than a decade due to challenges in the production process. The initial screenplay of Squid Game was finished in 2009 by Hwang Dong-hyuk. However, many production companies rejected investing in Squid Game for its violence and content of Squid Game seemed far from traditional Korean dramas.^[12] Around 2018, Netflix was looking to expand its content beyond Western North America culture and found Squid Game to be a worthy investment. Director Hwang pitched Squid Game to be a two-hour film but Netflix and Netflix Asia division expanded the vision of Squid Game to be made as a series.^[13]

Squid Game demonstrates a cultural hybridity mixing the struggles of a capitalist society and Korean culture, like traditional Korean cultural games, in producing a creative survival thriller story. The plot of the film unfolds with the protagonist Gi Hun participating in a survival game where 456 participants compete with each other for a 45.6 billion prize.^[14] Throughout the survival, participants play traditional Korean games such as red light-green light, ddakji, and dalgona.^[15] The global audiences are able to immerse themselves into unfamiliar Korean games by following the journey of the survival contestants. The incorporation of traditional Korean games reflect the authentic Korean culture weaved into the concept of Korean fantasy. Many global audiences are able to empathize with the current-day struggles of economic difficulties that motivated the fictional characters to participate in the Squid Game.

KPop Demon Hunters represents a transnational media production process between Western and non-Western culture industries. It reflects a cultural hybrid production created by local agents and media corporations. Sony Pictures Animation produced the film but sold the IP rights to Netflix.^[16] While the cultural trends and contents are based on Korean culture, the creation and distribution of the production are largely led by multinational businesses and US corporations.

The production team traveled to South Korea and carried out research to make sure the film portrayed authentic Korean culture. KPop Demon Hunters captured scenery of daily Korean life and culture. Various scenes of the film captured places such as the Gyeongbokgung Palace, Bukchon Hanok Village, Namsan Tower, Korean bathhouses, and Haniwon (traditional Korean medicine clinic). The soundtrack of the film was developed in collaboration with people working in the K-Pop industry to create music that would speak to the fans of K-pop. Top songwriters and K-Pop music producers participated in the soundtrack project.^[17] The fictional K-Pop group Huntrix’s song “Golden” dominating the music charts of Western music market as top hits is symbolic. The achievement of the film’s soundtrack demonstrates the collaborative power between Netflix and Hallyu.

The theme of cultural hybridity appears in the story of KPop Demon Hunters. The film mixes traditional Korean culture with contemporary K-Pop into its plotline and depictions of characters. The K-Pop girl group Huntrix doubles as secret guardians protecting their fans and the world from evil spirits. The girl group Huntrix uses swords in fighting the demons that resemble the actions of Korean shamans driving out the evil spirits. The animal mascots appearing in the scene such as the tiger Derpie and the magpie Sussy draw from traditional folktales and paintings. Kpop Demon Hunters not only portrayed vibrant cultural scenes attracting global audiences, but the underlying message of the film reflected the idea of self-acceptance through its characters. Even if K-Pop was unfamiliar, people were able to resonate with the protagonist Rumi of Huntrix’s journey of accepting her identity.^[18]

Netflix’s impact on South Korea examined by Deloitte Consulting Firm captured the socio-economic impact. The investment in content productions to creative industries contributed almost KRW 5.6 trillion won to the country’s GDP. The relationship between production companies and Netflix strengthened after Netflix’s entry to South Korea in 2016. Opportunities for profitability improved for production companies working with Netflix with reduced risks of the success of the film or series. Moreover, Netflix partnered with big Korean media corporations like CJ Ent. and Studio Dragons for long-term partnerships to create Korean productions, allowing more creative and bold productions to be made. ^[19]

Despite Netflix’s positive impacts to South Korea’s socio-ecosystem, there have been concerns for Netflix’s domination in the market. The United States has various content buyers such as HBO, Amazon Prime, Disney +, and Netflix. However, South Korea has Netflix as their dominant buyers which leads to risks of the platform controlling the price and terms. The South Korean media industry and production companies need to strengthen their bargaining power.^[20] The actions of the government could provide some remedy to Netflix’s monopoly by increasing funding to local Korean platforms and securing IP rights for Korean content creators.^[21] The examination of the possible barrier to Hallyu demonstrates how the close working of the Korean government and media industry will make Hallyu thrive more stably.

Hong, Seok-Kyeong and Park, Sojeong. “Reshaping Hallyu: Global Reception of South Korean Content on Netflix.” International Journal of Communication 17 (2023): 6952-6971.

Jin, Dal Yong, Yoon, Kyong, and Min, Wonjung. Transnational Hallyu: The Globalization of Korean Digital and Popular Culture. New York: Bloomsbury Publishing USA, 2023. Accessed November 30, 2025. ProQuest Ebook Central. https://ebookcentral.proquest.com/lib/ed/detail.action?docID=6640281

Jonggil, Lee. “‘Netflix Is Too Dominant in Korea’… Warning from CEO of $700 Million Investment Firm [K-Content Strategy]” The Asia Business Daily, November 10, 2025. https://cm.asiae.co.kr/en/article/2025111002155940173

Jung, Haein. “Squid Game Season 1 Ending: Breaking Down That Unpredictable Finale.” Tudum by Netflix, December 26, 2024. https://www.netflix.com/tudum/articles/squid-game-season-1-ending-explainer

Kim, Taeyoung. “Cultural Politics of Netflix in Local Contexts: A Case of the Korean Media Industries.” Media Culture & Society 44, no. 8 (2022): 1508–22. https://doi.org/10.1177/01634437221111917.

L, Aaron. “Crash Landing on You and North Korea: Representation and Reception in the Age of K-Drama.” Asia-Pacific Journal: Japan Focus, October 31, 2023. https://apjjf.org/2020/12/epsteingreen.

Lau, Yvonne. “Netflix exec behind ‘Squid Game’ wants to invest more in the ‘K-Wave’—and hints at a possible season 2.” Fortune, October 21, 2021. https://fortune.com/2021/10/21/netflix-squid-game-exec-minyoung-kim-south-korea-season-2/

Mustafha, Nurshazani, and Fariza Hanis Abdul Razak. “Cultural Diplomacy in Korean Drama Descendants of the Sun.” UiTM Institutional Repositories (Universiti Teknologi MARA) (2020). https://ir.uitm.edu.my/view/publication/Journal_of_Media_and_Information_Warfare_=28JMIW=29/>,.

Netflix. “Netflix Korea, the story so far.” Netflix News, September 29, 2025. https://about.netflix.com/en/news/netflix-korea-the-story-so-far

“New Hallyu Dawns on ‘Descendants of the Sun.’” The Korea Times, April 3, 2016. https://www.koreatimes.co.kr/entertainment/shows-dramas/20160403/new-hallyu-dawns-on-descendants-of-the-sun.

Romero, Ariana. “How Do You Play the Games in Squid Game? Here Are the Rules for Seasons 1-3.” Tudum by Netflix, July 17, n.d. https://www.netflix.com/tudum/articles/squid-game-games-explained

Smith, Dave. “Sony sold Netflix the rights to ‘KPop Demon Hunters’ in a pandemic-era safety play—and now it’s Netflix’s biggest movie ever.” Fortune, August 27, 2025. https://fortune.com/2025/08/27/kpop-demon-hunters-sony-netflix-rights-deal/

^ Dal Yong et al., p.12.
^ Hee-Joo Han and Jae-Sub Lee, p.121.
^ Hyejung Ju, p.17.
^ Sojeong Park and Seok-Kyeong Hong, p.6957.
^ Dal Yong et al., p.45.
^ Dal Yong et al., p.51.
^ Dal Yong et al., p.62.
^ Nurshazani Mustafha and Fariza Hanis Abdul Razak, p.4.
^ The Korea Times 2016
^ Christopher Green and Stephen Epstein 2020
^ Christopher Green and Stephen Epstein 2020
^ Netflix 2021
^ Fortune 2021
^ Netflix 2024
^ Netflix n.d.
^ Fortune 2025
^ BBC 2025
^ BBC 2025
^ Netflix 2021
^ The Asia Business Daily 2025
^ Reuters 2023

Hallyu 2.0 and Beyond

Components of Hallyu

Integration of Digital Technology

Relationship Between Hallyu and Netflix

An Examination of Korean Media

Descendants of the Sun

Context and Distribution

Crash Landing on You

Context and Distribution

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