[World Clock:] From Netflix to National Museums: The Rising Wave of K-Culture

“It was on my bucket list to visit the National Museum of Korea,” one Danish visitor said with a smile. On August 29th, the National Museum of Korea in Yongsan, Seoul, was bustling with visitors even on a weekday morning. Groups of foreign visitors stood out as they toured the galleries, carefully watching the exhibits. In front of the Pensive Bodhisattva, they listened to the guide, nodding in understanding or taking photos with their phones. At the sight of the Ten-Story Stone Pagoda of Gyeongcheonsa Temple Site on the first floor, passersby paused in awe, voicing their admiration at its grandeur. Stretching up to the height of the museum’s third floor, the pagoda impressed visitors who craned their necks to take it all in. After viewing the exhibitions, foreign visitors crowded into the museum’s gift shop, MU:DS, eager to buy souvenirs such as the “Magpie and Tiger Badge,” the “Tipsy Scholar Color-Changing Cup,” and the “Miniature Pensive Bodhisattva.” A Danish visitor said, “I came after watching K-pop Demon Hunters (KDH) over the weekend.” 

According to “Channel PNU”’s coverage on August 29th, the K-culture boom was clearly visible at the museum among foreign visitors. The animated series KDH, released on Netflix in June 2025, has reached a cumulative 236 million views as of the 27th, topping the platform’s global film Top 10 chart. Its soundtrack also proved its popularity, holding the No. 2 spot on the Billboard 200 for four consecutive weeks. 

Riding this wave of enthusiasm, the National Museum of Korea is experiencing a welcome surge in attention. While visitor numbers hovered around 400,000 in May and June 2025, they jumped to around 700,000 in July and August, coinciding with the summer vacation period and the release of KDH.  The museum has also seen growth in its online presence, with the addition of about 3,000 foreign subscribers on YouTube and around 2,000 Instagram followers compared to December of 2024. A museum official explained, “The visit by BTS member RM, the success of K-content, and viral exposure on social media have all contributed to explosive interest from international audiences.” MU:DS-branded merchandise endorsed by RM—such as the “Miniature Pensive Bodhisattva” and the “Tipsy Scholar Color-Changing Cup”—has also become highly popular among foreign visitors.

Experts say the popularity of K-culture is grounded in long-accumulated cultural capital and strategic use of platforms. Jung Jong-Eun (Prof. of Arts, Culture, and Image, Pusan National University) analyzed, “What began as the Korean Wave focused on the East Asian cultural sphere in the late 1990s has expanded into a global culture through YouTube, K-pop, and Netflix.” Popular music critic Kim Do-Heon added, “Just as Japan captured global attention with anime and China with martial arts genres, K-culture has now entered the global spotlight.”

Foreign visitors attribute the fusion of uniquely Korean sentiment with a global sensibility to a key factor behind the popularity of K-culture. Maria, a Russian student, said, “Through dramas, I came to understand aspects of Korean sentiment such as honorifics, etiquette, and workplace culture.” The blending of these Korean elements with familiar genres has created the distinct appeal of K-culture. For instance, Kingdom—which combines zombie narratives with Korean historical drama—and Squid Game—which merges traditional Korean folk games with the battle royale format—have both gained huge popularity. A Danish visitor also noted, “Parasite felt both exotic and familiar. I related to how it addressed class issues in a distinctly Korean way, which are also present in Europe.”

Experts analyze that this fusion is closely tied to Korea’s historical background. Korea is a rare case of a nation that achieved both industrialization and democratization within just a few decades after the 1960s. Whereas modernization and the development of civil society took centuries in Western countries, Korea experienced them in a compressed timeframe, creating a cultural dynamism where tradition and modernity coexist.  Prof. Jung explained, “Korean society embodies emotions and experiences from different eras all at once. This diversity of experiences and worldviews has, in fact, enriched our content with unique themes and imaginative depth.” He added, “The natural blending of Eastern and Western, traditional and modern, collectivist and individualist elements evolves into a sophisticated cultural compound that global audiences can enjoy. This hybridity and flexibility are the foundations that allow Korean content to deliver not just entertainment, but empathy and emotional resonance.”

High production quality is also central to the popularity of K-culture. Saeji (Prof. of the School of Global Studies) noted, “Unlike other cultures, the precision in large-group choreography, visual styling, and even the construction of entire story universes is meticulously planned, and that level of perfection is clearly reflected in the content.” A Mexican student added, “From music and dramas to fashion and social media, attention to detail is outstanding.”

Thanks to K-pop fandoms, the spread of K-culture has also accelerated. A Peruvian exchange student remarked, “Korean fashion and music trends spread quickly across the world.” Fandom culture goes beyond simple consumption, driving cultural diffusion through collective experiences and secondary creations. Critic Kim noted, “K-pop is a unique system that combines community with real-time interaction, and even global pop stars are beginning to adopt it.”

As a result, K-culture has become part of everyday life for foreigners. A PNU student from Myanmar shared, “Foods like Tteokbokki, Samgyeopsal, and Soju are now consumed in Myanmar almost as if they were part of daily life.”  A Finnish exchange student added, “Korean cosmetics and food products are easy to find even in local retail stores.” According to statistics from the Ministry of Culture, Sports and Tourism, exports of Korean food and cosmetics have maintained double-digit growth over the past five years—highlighting how the influence of Korean content is spreading across entire industries.

At the same time, experts point out that certain improvements are needed for K-culture to continue maintaining its popularity. Prof. Jung cautioned, “We must be wary of a cultural-imperialist perspective and of blindly following a formula for success.” Critic Kim emphasized, “Korea’s challenge lies in how it will balance its identity as the birthplace of K-culture with its global strategies. Korea must be able to define the direction of its culture on its own terms.”

Reporter Channel PNU

Translated by Seo Young-Chae