logo
Animation ‘K-pop Demon Hunters' hits No. 1 on Netflix in 26 countries, tops 93 charts

Animation ‘K-pop Demon Hunters' hits No. 1 on Netflix in 26 countries, tops 93 charts

Korea Herald4 days ago

An animated film about a K-pop girl group that battles evil spirits is now one of Netflix's most-watched titles worldwide.
"K-Pop Demon Hunters," co-directed by Korean-American filmmaker Maggie Kang and Chris Appelhans, debuted June 20 and quickly topped Netflix's global chart, according to data from FlixPatrol. Between June 21 and 22, it held the No. 1 position globally, ranking first in 26 countries and landing in the Top 10 in 93. Viewership has been especially strong not only in Asia but also in the US, France and Germany.
The film follows Huntrix, a K-pop trio whose concerts double as supernatural missions. On stage, they use music to maintain a magical barrier called the "honmoon," which protects the human world from demonic forces. Their main rival is Gwi-ma, a spirit king who preys on human souls and sends demons to defeat the hunters in the form of a boy band, the Saja Boys.
The voice cast includes major Korean stars. Actor Lee Byung-hun from "Squid Game" plays Gwi-ma, and actor-singer Ahn Hyo-seop voices Jinu, the leader of the Saja Boys.
Produced by Sony Pictures Animation, the film blends fast-paced action, fantasy and musical drama. Although primarily in English, the film includes Korean dialogue and is packed with culturally specific details, from folklore creatures like "dokkaebi" (Korean goblins) to everyday habits like visiting traditional medicine clinics and bathhouses.
Audiences have embraced both the visual design and the music. K-pop producer Teddy contributed to the soundtrack, including Huntrix's 'Golden' and Saja Boys' 'Soda Pop.' Twice's Jeongyeon, Chaeyeong and Jihyo perform the film's opening number, 'Takedown,' and MeloMance's 'Love, Maybe' and Exo's "Love Me Right" play in their original Korean versions.
Critics and viewers agree on the appeal of "K-pop Demon Hunters." As of June 24, it holds a 96 percent critic score and 91 percent audience score on Rotten Tomatoes.
The film's success reinforces Netflix's belief that 'great stories can resonate everywhere, regardless of language or culture," as Kim Min-young, head of Netflix's Asia-Pacific content division, said earlier this year.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Seoul taken over by 'Squid Game'
Seoul taken over by 'Squid Game'

Korea Herald

time2 hours ago

  • Korea Herald

Seoul taken over by 'Squid Game'

Seoul was taken over by the world of "Squid Game" on Saturday as a fan event brought together the show's creators, fans, and key cast members. A parade showcasing iconic elements from the series, such as the infamous killer doll Young-hee and actors dressed as players and guards reenacting memorable scenes like the O and X voting, marched along the road from Gwanghwamun to Seoul City Hall, accompanied by bands playing the show's soundtrack. The parade, which concluded around 9 p.m., was followed by a fan event featuring cast members from "Squid Game" seasons 1 through 3. The event included a brief talk show about the series and allowed the actors to interact with the audience.

Our summer remedy: A chill down the spine
Our summer remedy: A chill down the spine

Korea Herald

time8 hours ago

  • Korea Herald

Our summer remedy: A chill down the spine

Scream away the heat with these chilling horror series. From short, easily digestible anthologies to adaptations of hit webtoons, these shows may be just what you need to binge on these hot, sleepless summer nights. 'Hell Is Other People' on Tving, Disney+ Based on the hit Naver Webtoon of the same name, "Hell Is Other People" brings to life Jean-Paul Sartre's famous aphorism: the torment of being trapped under the gaze and judgment of others. The story follows Jong-woo, a young man slowly unraveling as he moves to a hostel with disturbing residents. Im Si-wan, playing Jong-woo, immaculately captures the character's slow descent into paranoia and fear, while the supporting cast, with characters that closely mirror their creepy webtoon counterparts, deepen the sense of unease. This slow-burn horror story probes a question at the core of the human psyche — what does it mean to live alongside people who are completely foreign to us? 'Guillermo Del Toro's Cabinet of Curiosities' on Netflix From visionary filmmaker Guillermo del Toro comes "Cabinet of Curiosities," a macabre anthology series that blends visual craftsmanship with classic horror storytelling. Each of the eight standalone episodes offers wildly imaginative scenarios, coupled with Del Toro's signature cinematic elegance. The series makes for an easy watch, with straightforward storylines that aren't overly cerebral. Still, it delivers some thematic messages that linger after the credits have rolled. Thanks to its short episodes and tight pacing, the series is highly bingeable, although it should be noted that it has received mixed reviews due to its graphic content. "American Horror Stories" on Disney+ A spinoff of the popular "American Horror Story," "American Horror Stories" delivers quick-hit horror through an anthology format. Spanning three seasons, each episode tells a self-contained story, allowing for a fast-paced and varied viewing experience. The episodes explore unsettling ideas ranging from internet folklore, such as the Backrooms, to modern themes such as clone robots. If you're looking for themes and concepts rarely seen in live-action series, these creative horror tales are the ones to dive into. yoonseo.3348@

Will Korea's barely-there stand-up scene stir to life?
Will Korea's barely-there stand-up scene stir to life?

Korea Herald

time8 hours ago

  • Korea Herald

Will Korea's barely-there stand-up scene stir to life?

Netflix tried to launch stand-up comedy in Korea years ago. Here's why it didn't work and why it might work now When Netflix launched its first Korean stand-up special in 2018, the strategy seemed solid. The plan was to sign big-name comedians, tap into their star power, and introduce local audiences to a genre that had taken off in the US. But the jokes didn't land. The debut, 'Yoo Byung-jae: Discomfort Zone,' received a lukewarm response. The follow-up specials, 'Park Na-rae: Glamour Warning' in 2019 and 'Lee Su-geun: The Sense Coach' in 2021, didn't perform any better. None generated the kind of buzz Netflix had hoped for. By 2022, the company had quietly backed away from stand-up in Korea. At the time, Yoo Ki-hwan, Netflix Korea's director of content, said, 'The genre just wasn't familiar to Korean viewers.' But comedians now helping shape Seoul's emerging stand-up scene believe the problem wasn't the audience. They say it was the lack of an ecosystem. Stand-up ecosystem: Small clubs, open mics and live audience feedback In the US, stand-up routines are sharpened in small clubs over years of trial and error. Jokes are tested live, rewritten and tested again. In Korea, the comedians featured on Netflix had almost no experience performing stand-up in front of a live audience. What ended up on the screen were essentially rough drafts. 'The problem was showing untested jokes to the public,' said Song Ha-bin, a regular stand-up performer at Meta Comedy Club in Seoul. 'The best material gets shaped onstage. You have to bomb a few times to find what works.' Kim Dong-ha, another Seoul-based comic, put it this way: 'Just because someone is a comedian doesn't mean they're built for stand-up. It's like assuming a soccer player can jump into a basketball game.' At the local comedy club Meta Comedy Club in Hongdae, performers like Song, Kim and Lee Je-gyu now follow the American model of development. The club hosts shows five nights a week, giving comics a space to try new material in front of real crowds. 'You write something funny, try it in a small room, see what works and cut what doesn't,' Lee explained. 'Then you do it again. And again.' That process seems to be paying off. Online success and its limits Comedians are sharing the bits that work online, and many of those clips are going viral. One of Song's recent routines, about men reluctantly tagging along with their girlfriends to Olive Young, a popular Korean cosmetics chain, has racked up more than 2.4 million views on YouTube. 'The jokes we upload weren't written in one sitting,' Song said. 'They've been shaped by real reactions. Now people laugh online, and then they want to see it live. So they come to our shows.' The comics say they've seen a gradual but real shift in how audiences respond. 'When we started, a lot of people didn't even know what stand-up was,' Song recalled. 'We used to hear things like, 'You can't joke about that in Korea' or 'This format just doesn't work here.' But now, people are more open.' Jang Su-yeon, an office worker in Seoul, is among those Koreans warming up to the genre. 'From time to time, I've come across American stand-up clips with Korean subtitles on YouTube,' she said. 'For a while, it was mostly Korean American comedians, but lately I've been seeing more from white comedians.' She was referring to Matt Rife, whose fan-run YouTube channel, created by a Korean viewer, has more than 90,000 subscribers, with its most popular video clip garnering over 6 million views. 'Honestly, I started watching them because they seemed like a fun way to study English. And over time, I think I got used to the rhythm and style,' she added. Naver blogger Yazidor also shared a similar experience. She and her boyfriend started watching American stand-up clips on YouTube shorts, eventually leading them to attend a live show at the Artzit Comedy Club in Seoul. "Two hours had flown by because we were laughing so much," she wrote. "If you're into stand-up comedy, I definitely recommend seeing it live." Banking on growing signs of acceptance for live comedy, comedian Song is now dreaming bigger. He says he wants to help build a genuine stand-up culture in Korea. 'I want to hear people say, 'Let's go to a comedy show after work,'' he said. 'That's the vibe we're working toward.' Still, challenges remain. Lee noted that many younger Koreans prefer to watch comedy online rather than attend live shows. 'Setting aside time, going to a specific venue, buying a ticket and being expected to drink — that whole model can feel like a barrier for younger audiences who are used to consuming content online and are less tied to Korea's drinking culture,' he explained. 'For now, that (online-to-offline flow) actually works in our favor. But looking ahead, we need to start thinking about how to make live comedy more accessible to them (offline).' ssh@

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store