Hallyu Expands Beyond Music into Literature, Film, and Food—Led by Han Kang and KPop Demon Hunters

Hallyu, which originated centered around K-POP, is now spreading into Korea’s overall lifestyle culture, including literature, film, food, and dramas. This is based on an analysis conducted by the Ministry of Culture, Sports and Tourism and the Korea Cultural Information Service of approximately 1.5 million foreign media articles and social media posts from 30 countries between October 2024 and September 2025.

During the survey period, foreign media coverage related to Hallyu was highest in Asia (44%), followed by Europe (20.8%) and North America (16.9%). Different patterns emerged across regions. While K-POP accounted for the largest share in Asia, Europe, and North America, “K-literature” held a relatively higher proportion in Africa, and “K-film” was more prominent in Oceania. In terms of individual countries, the United States, India, Argentina, and Vietnam had the highest volume of coverage. In Japan, K-literature received significant attention, while in Vietnam, K-dramas were highly sought after, and in Brazil, K-films gained considerable interest.

Among major 2025 content pieces, Netflix’s animated film “KPop Demon Hunters” surpassed 300 million views on the platform, and its theme song “Golden” reached number one on the Billboard Hot 100. Among key keywords related to K-film, “KPop Demon Hunters” accounted for 15.9% of searches. The successful appeal of the film was attributed to the seamless integration of Korean elements such as guardians of the afterlife, goblins, kimbap, and ramen into its narrative. The film’s impact extended to tourism and consumer sectors, including an increase in foreign visitors to the National Museum of Korea and a surge in bookings for K-culture experience products.

In the realm of K-literature, author Han Kang’s victory in the 2024 Nobel Prize in Literature played a decisive role. After her award, coverage related to her work increased by more than 30 percentage points compared to the previous quarter, with works such as “The Vegetarian” and “Boy Who Came” receiving focused attention. Foreign media highlighted the symbolic significance of her being the first Asian woman to win the prize, praising Korean literature for opening new horizons in world literary history.

The global popularity of K-food also stood out significantly. In addition to traditional Korean dishes such as kimchi, soju, ramen, and bibimbap, terms like “Chef” and “Squid Game” emerged as new key keywords. This trend was attributed to the renewed worldwide interest in Korean cuisine brought about by the OTT cooking show “Black & White Chef” and the drama “Squid Game.”

The drama “Pokssak Sokasseuda,” set on Jeju Island, achieved international resonance through a localization strategy that adapted its title to suit different regional tastes and a narrative centered on universal family love. After its release on Netflix, there was an increase in tourism demand to Jeju, and social media saw the spread of the “My Own Gimbap Challenge,” earning it recognition as a case study in the globalization of local content.

“Squid Game” maintained a 27.1% share among key K-drama terms after its third season premiered, ranking number one in 93 countries. Although critic ratings declined slightly with each new season, the show continued to enjoy high public interest, demonstrating the brand value of K-content. Its impact extended industrially as well, with global brand collaborations, wins at major American awards ceremonies, and increased investment from OTT platforms.

“The Chef of Tyrants,” which follows a modern chef who travels back in time to the Joseon Dynasty to encounter a tyrant with an absolute sense of taste, topped Netflix’s non-English TV category. Another currently airing series, “My Beloved Bandit,” rose to number one in Netflix’s “Top 10 Korean Series” list just three days after its release. These “K-period dramas” succeeded in capturing global audiences by cleverly blending universal genre conventions with uniquely Korean aesthetic elements. By packaging Korean cuisine, hanok, hanbok, and herbal medicine within a Joseon historical framework, they created cultural content that modernized and made Korea’s image more appealing.

Lee Eun-bok, the director for Overseas Promotion Policy at the Ministry of Culture, Sports and Tourism, stated, “Hallyu has evolved beyond merely being a trend in content to become a key strategic asset that drives a country’s brand and industrial competitiveness.”