If you haven’t watched KPop Demon Hunters yet, this is your reminder. Since its June 20 release, it has climbed into Netflix’s all-time Top 4 most-watched English-language films with roughly 158.8 million views. In fact, it’s done so well that Netflix is now running a sing-along event in theaters later this month. The movie had a limited theatrical run alongside its Netflix debut, which some say was a strategy to meet Academy requirements. I made a LinkedIn post here saying that the finale of Game of Thrones should have debuted in theaters and HBO would have made a lot of money. I wouldn’t be surprised if we start seeing this more, especially with shows that are extremely successful like KPop Demon Hunters.
What’s Working?
This isn’t new for Netflix. Korean dramas have been popular on the platform (Squid Game, Crash Landing on You, and All of Us Are Dead) and K-pop in America over the last five years has been growing exponentially. It’s not surprising that Netflix would lean into this genre while also figuring out how to add a successful original soundtrack. The most popular song, “Golden,” rose to #1 on Billboard Hot 100, making history as the first K-pop female act (even though it’s a fictional group) to rise this high on the list. K-pop and anime are really working in American culture right now.
A New Wave Of Animation
We’re seeing a lot of successful animation come from studios other than DreamWorks and Pixar, including Ne Zha 2, which dominated China’s box office, generating $2B (although about $1.8B of this came from China). Now, with KPop Demon Hunters, it almost feels like outside of Inside Out 2, studios have struggled at the box office.
Ne Zha 2 movie poster
What Does This Mean for Creators?
I think there are a lot of interesting places for creators to play. One that stands out is The Amazing Digital Circus, which syndicates content on Netflix. There are also animators like MeatCanyon producing work that taps into internet culture and trending news stories.
MeatCanyon’s latest video about Pirate Software.
All of these creators have proved that you don’t have to have a big studio backing you to make successful animations. What we haven’t seen is a creator on YouTube make a successful show on another platform. I think if you’re a creator, you also have the freedom to experiment with new IP and storylines that you own. It feels like people are burned out by the number of sequels we’re seeing in animation right now.
The Big Takeaway
KPop Demon Hunters shows how culturally specific, music-driven animation can become a global hit. This follows years of growing demand for Korean dramas, K-pop and anime in the U.S. and Netflix has leaned into that momentum. Aside from Inside Out 2, Hollywood animation has struggled in the last few years, leaving room for new IP and smaller studios to capture attention. Audiences are clearly eager for new stories rather than a constant stream of sequels.
In this week’s Spotlight, we’re hearing from one of our creators, Ilyssa Levy, better known as Illymation. Illy has been animating on YouTube for almost a decade, exploring vulnerable, personal, and sensitive topics to destigmatize and normalize conversations through her unique storytelling. Here’s what Illy had to say:
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