‘KPop Demon Hunters’ signals rise of ‘Next K’ era beyond borders

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 targetedWeiter zum vollständigen Artikel bei Korea Times Weiter zum vollständigen Artikel bei Korea Times