Netflix’s “KPop Demon Hunters” Exceeds 300 Million Views, Setting a New Viewing Record

Netflix’s original animated film “KPop Demon Hunters” reached a cumulative total of 301,420,000 views on the 14th, establishing itself as the most-watched film and series in Netflix history. Just three and a half months after its release on June 20, it surpassed the previous record holder, the first season of “Squid Game” (265,200,000 views). Created by Korean-American director Maggie Kang and co-directed with Chris Applehanes, the film tells the story of a group of three K-pop female idol groups known as HUNTR/X who hunt demons. Born in Seoul, Kang moved to Toronto, Canada, at the age of 5. After 12 years of experience in Hollywood animation, she sought to pursue a project centered on Korean culture. She explained that she conceived the idea of “demon hunters” from childhood stories about Korean ghosts and goblins, and incorporating K-pop significantly expanded the scale and appeal of the film. Kang said, “The energy generated when everyone sings together at a K-pop concert breaks down cultural barriers. I wanted to capture that feeling in the film.” Inspired by Korea’s tradition of shamanesses using music to combat evil for centuries, she created the setting in which HUNTR/X fight demons through music. To depict Seoul as realistically as possible while using it as a modern backdrop, she and co-director Chris Applehanes visited various locations in Korea during development in 2022, experiencing historical monuments, folk villages, and contemporary Seoul landscapes firsthand. The film’s musical success is also notable. Its OST track “Golden” topped Billboard’s main singles chart, the Hot 100, for five consecutive weeks, the longest streak ever achieved by an animated work. Four songs from the film entered the top 10 of the Hot 100, making it the third time in history this has happened after “Saturday Night Fever” and “Waiting to Exhale.” On Spotify, HUNTR/X has 50 million monthly listeners, surpassing BLACKPINK (32 million) and BTS (26 million). The film also appeared on Billboard’s 200 album chart. Its success has driven increased tourism worldwide. According to Seoul City data, the number of foreign tourists reached 1.36 million, a 23% increase compared to the same period the previous year and an 18% rise from 2019. In the UK, Google searches related to “Korean vacations” surged by 40% after the premiere of “KPop Demon Hunters.” British travel agency Wayfarer Travel reported a 17% increase in inquiries for customized Korean tours this year compared to 2024. Globally, searches for “Korea” increased by 43% over the past year, while searches for “Seoul” skyrocketed by 219% since “Squid Game.” The filming locations in Seoul featured in the film have become popular tourist attractions. Bukchon Hanok Village, Naksan Park’s Fortress Trail, Gyeongbokgung Palace, Changdeokgung Palace, Myeongdong Street, N Seoul Tower, and the Olympic Stadium are now must-see spots for foreign visitors. Korean cultural elements such as the foods depicted in the film (kimbap, kimmalii, ramen), herbal medicine shops, and public baths have also attracted global interest. Nongshim announced a collaboration with products featured in the film in August, and London’s V&A Museum held a Hallyu exhibition highlighting “Squid Game,” “Parasite,” BTS, K-beauty, and K-food. At the 30th Busan International Film Festival, Kang attended a Netflix masterclass and was asked about sequels. She said, “I get asked questions about 20 times a day, but there’s nothing official I can reveal,” adding, “We will definitely have more opportunities to share stories.” She stated, “It will come for the creators and fans alike,” and noted that she has been giving a lot of thought to the story of potential sequels. Reflecting on the film’s success, Kang said, “I believe it was loved because it features a lot of Korean culture and explores universal themes like friendship and identity that everyone can relate to.” She emphasized that the integration of K-pop expanded the film’s scale and became its key global selling point. Kang also stressed, “One must not lose oneself,” adding, “My talent lies in storytelling, and turning that into a vision is the secret to success.” The film has also inspired the development of virtual idols within the K-pop industry. K-pop agency Galaxy Corporation recently held the first virtual K-pop group auditions in Los Angeles, USA. Virtual K-pop idols represent a new phenomenon—aespa debuted in 2020 with their virtual avatar “æ,” and in 2023, 2D boy bands PLAVE and MAVE took to the stage using motion capture technology. David Park, senior partner at UTA in the U.S., said, “I’ve never seen anything like this in my 30-year career. The biggest films and TV shows are now all Korean works.” He added, “Although Korea doesn’t own them, it demonstrates the true power of storytelling.” Speaking about director Maggie Kang’s project, he said, “She poured her entire life into it,” and noted that “the greatest art comes from authenticity.” Hallyu experts consider this film to have opened a new chapter for Korean culture. Hallyu first appeared in Beijing newspapers in 1999 under the term “halyu” and has spread worldwide over about 30 years through K-pop, Korean dramas, and films. NH Investment & Securities analyzed that “the reproduction of Korean culture in North America is only possible now that its global significance has been recognized.” According to statistics from the Korea Tourism Organization, Korea welcomed over 12 million foreign tourists in 2023, a 35% increase from 2019.