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.
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.
