KPop Demon Hunters Becomes Netflix’s Most-Watched Series Ever, Sparking a Global Cultural Phenomenon

Netflix’s animated series “KPop Demon Hunters” has emerged as the platform’s most-watched show in history, transforming into a worldwide cultural phenomenon. As of August 31, it had accumulated 266 million views, surpassing the previous record holder, “Squid Game” Season 1, which recorded 265.2 million views. Contrary to the typical decline in viewership after a film’s release, the series maintained steady viewership even in September, two months after its debut. Viewership surged again after the “Sing-Along Version” was released on August 25. When an event-based “Sing-Along” screening took place in North American theaters from the 23rd to the 24th, it generated approximately $18 million (about 25 billion won) in revenue, securing first place on the overall box office charts. In South Korea, the “KPop Demon Hunters” craze has spread across various sectors including the economy, tourism, and merchandise sales. There has been a noticeable increase in foreign tourists visiting locations featured in the film, such as Jongno, Bukchon, and Anguk-dong areas in Seoul, along with Namsan, Gyeongbokgung, and Naksan. The National Museum of Korea consistently breaks attendance records daily, while YouTube is filled endlessly with videos of fans imitating the songs and dances of HUNTRIX and Lion Boyz. There are interesting differences in how Koreans and Westerners view the series. Koreans tend to focus on cultural accuracy and national identity, whereas English-speaking Western audiences are more interested in themes of self-acceptance and redemption. Abroad, many people watch the film repeatedly due to its self-healing effect, finding it deeply moving for those who have suffered. It is not only enjoyed by children but also by parents, serving as a means to strengthen family bonds. The series presents a new model for the fandom economy. The concept in the film that the power of HUNTRIX to defeat evil spirits comes from fans symbolizes the essence of the fandom economy. The idea that fans’ hope, courage, and the bonds they form create a shield called “Hunmun” to protect the world reflects the reality in modern fandom economies where consumers function as prosumers—people who are both producers and consumers. Merchandise development is also thriving. Cup noodles and shrimp chips featuring HUNTRIX members are selling quickly in stores, while “Golden” products are frequently available in insurance offices, gyms, and rest areas across the country. Dance studios are crowded with students eager to learn the film’s choreography. Director Maggie Kang, who directed the series, is of Korean-Canadian descent and emphasized her focus on accurately representing Korean culture. She explained, “Cultural errors often occur in foreign content about Korea,” adding, “I wanted to create something that accurately captures Korean culture.” She stated that by crafting a universal story, the film allows everyone to understand it, and she believes it has succeeded in realizing Baekbeom Kim Gu’s vision of a country with “infinite cultural power.” Since September, Seoul has been bustling with events related to “KPop Demon Hunters.” On the 7th, the “2025 Han River Light Show (Drone Light Show)” was held at Dukseom Han River Park in Gwangjin-gu, Seoul, where over 1,200 drones formed images of the film’s characters. Numerous citizens and fans attended the event, experiencing the enthusiasm surrounding the series and its soundtrack. In the future, themed attractions based on the film are set to expand at South Korea’s largest theme parks.