We consume content as naturally as we breathe. We laugh, cry, get excited, feel tense, and empathize as we consume content. The digital transformation and popularization of OTT platforms have further amplified the power of content. Korean dramas often dominate the front page when you open Netflix, and it is becoming increasingly common to see foreigners singing along to K-pop songs. The number of Korean productions garnering acclaim on global stages continues to rise. Clearly, the so-called “K-content” is not merely a temporary trend; it is positioning itself as an emerging pillar of the global pop culture.

As the flagship of K-content, K-drama first started to gain popularity in Japan. The 2002 Korean TV drama Winter Sonata starring Bae Yong-joon and Choi Ji-woo became a cultural phenomenon in Japan as soon as it was released there, coining new terms like “Yonsama” and “Jiwoohime.” Later, “Crash Landing on You,” a 2019 Korean drama starring Hyun Bin and Son Ye-jin, reignited global interest in Korean dramas. K-pop artists picked up the baton and cultivated deeply loyal fanbases, building upon the K-content boom.
Netflix’s Squid Game dominated the global content market. Using traditional Korean games like “Dalgona candy challenge” and “Red Light, Green Light” to depict wealth disparity and harsh competition metaphorically, the series remains Netflix’s most-watched original three years after its release. Season 1 recorded 1.65045 billion viewing hours within 28 days of its release, with around 95% of views coming from overseas. It won 6 Emmy Awards, and the teaser for Season 3—released on June 27—garnered 4 million views in just 6 hours. This success stems from its delicate emotional arcs, socially conscious narratives, and ability to transform Korean cultural elements into universally relatable stories. K-content has become “felt” content, transcending national borders.

Personal tastes are diversifying, and cross-border content consumption has become part of daily life. K-content is adapting to this trend by flexibly expanding its genres, themes, and messages, offering global audiences more choices.

Unlike dramas, films, and music, variety shows were once considered hard to export due to language and cultural barriers. Thanks to their experimental formats and themes, however, K-variety shows are now being remade abroad and co-produced internationally with OTT platforms playing a significant role in expanding their global reach. Produced with massive budgets and marketed through global distribution channels, programs like Physical: 100, The Devil’s Plan, and Single’s Inferno have gained attention, as well as uniquely themed shows like Culinary Class Wars. Hollywood actress Natalie Portman even revealed on a YouTube channel in May that she enjoys watching Culinary Class Wars, drawing further global interest.
The nationalities and backgrounds of cast members are also becoming more diverse. The viral catchphrase “It’s a battle of the unnies” from Street Woman Fighter helped the show evolve into World of Street Woman Fighter, featuring international dance crews and gaining popularity worldwide. It ranked among the top 20 on Japan’s OTT platform ABEMA and secured high rankings on platforms like China’s iQIYI and Vietnam’s FPT Play.
K-pop has evolved beyond music to become a global cultural phenomenon that involves multiple layers of elements including fan engagement, message delivery, and social impact. In 2018, BTS’s RM delivered the “Love Yourself” message at the UN, and this spread across social media as a social movement. BTS's fanbase ARMY is active in social causes such as environmental protection, disaster relief, and human rights campaigns, going beyond fandom to become “cultural practitioners.”
Though some argue that the slowing growth in album sales may signal waning K-pop fervor, the success of world tours suggests otherwise. With the post-pandemic surge in demand for live performances, BTS’s J-Hope sold out his first solo tour in 15 countries after completing military service. Stray Kids also drew around 2 million fans in 34 countries, showing their continued global influence.

Against this backdrop, Korean musicals are also starting to break through international barriers. Long reliant on licensed performances of Broadway and West End productions, the industry saw a breakthrough when the original musical Laundry was exported to Japan and China. Localization remained a challenge, however. In this context, the original Korean musical Maybe Happy Ending made waves by winning 6 Tony Awards on Broadway this June. The story of robots Oliver and Claire falling in love showcased the global potential of Korean original musicals.
Personal tastes are diversifying, and cross-border content consumption has become part of daily life. K-content is adapting to this trend by flexibly expanding its genres, themes, and messages, offering global audiences more choices. Especially with the rise of OTT platforms, physical distances and language barriers are breaking down, vastly expanding the reach of content. People ask, “What emotional journey will K-content take me on next?” rather than “What should I watch?” K-content has become not just a trend, but a new cultural language that connects emotions across borders. This connection continues to spread further and deeper around the world each day.