Korea redefines global pop culture: From Squid Game 3 to broadway wins

Welcome to Within The Frame, where we bring the most pressing issues across the globe into focus. I'm Kim Mok-yeon.

From Netflix charts to Billboard rankings, K-culture is no longer riding a wave — it's shaping the current.

Squid Game 3 just topped the world's biggest platform in 93 countries. K-pop is expanding into animation, arena tours, and soundtracks that dominate global charts.

Rookie groups are breaking records in their first week, Korean musicals are winning on Broadway.

And now, with government funding pouring into content-tech, Korea isn't just exporting culture — it's building the next phase of it.

So today, we ask: where does Korea's cultural power stand now — and where is it headed next?

For answers to this, we are joined by Jason Bechervaise, Assistant Professor of International Affairs at Hanyang University. Welcome.

Also joining us online from New York is Entertainment Reporter Tamar Herman.

(JASON) 1. So Jason let's start with the most visible milestone — Squid Game 3 has topped Netflix charts in 93 countries for two straight weeks.

What does this kind of sustained global traction say-about the evolution of K-dramas into internationally recognized storytelling powerhouses?

(TAMAR) 2. And shifting to K-pop — KPop Demon Hunters isn't just streaming well, it's topping Billboard and Spotify charts.

Tamar, do you see this as a turning point, where K-pop identities are evolving into full-scale cross-media franchises?

(TAMAR) 3. In a recent ArirangTV survey held across 94 countries on more than 800 participants, BTS V and IU have been named as the top K-pop artists, as of Thursday.

Considering how long both artists have been in the spotlight, what does their staying power tell us about the global K-pop scene — and how it treats its icons?

(JASON) 4. Shifting to Broadway, the Korean musical Maybe Happy Ending just swept six Tony Awards.

Jason, how does this amazing breakthrough reflect Korea's ability to globalize its narratives beyond film and television?

(TAMAR) 5. And turning from stage to stage debut — rookie boy group AHOF won a music show just one week after their debut.

Tamar, could this kind of fast success show, that the timeline for making it in K-pop has completely changed?

(TAMAR) 6. And looking at the sheer scale of live fandom — Blackpink's Goyang concert brought in 78,000 fans, and their current world tour is hitting over 15 major cities.

Beyond the music itself, what do these stadium-sized performances tell us about how production, performance, and physical presence are shaping the global fan experience?

(JASON) 7. Then, now let's take a look at how the talent pipeline is being built — Lately, Korea's Culture Ministry has doubled its investment in short-form dramas.

Jason, how critical are these measures in discovering and launching globally competitive creators?

(JASON) 8. Staying on investment, the Korean government plans to invest 5 trillion won into culture-tech by 2027.

What does this reveal about Korea's long-term strategy for culture as a national growth engine?

(JASON) 9. So it's not new that Korean content is being consumed everywhere from Paris to even Peru.

In your view, what gives K-content that kind of cross-cultural resonance — despite the gap in language or distance?

(TAMAR) 10. And finally, on the heart of it all — today's K-pop fandoms aren't just fanbases, they're ecosystems shaping platforms, narratives, even policy.

Tamar, what do you think K-pop represents — to Korea and to the world in 2025?