Netflix's performance in the first half of this year has reaffirmed the status of K-content. Korean productions such as 'Education Through Love,' 'Mr. Kim,' and 'The Wonderful World' have led global viewing rankings, contributing to an increase in Netflix's viewing hours and improved performance.
According to Netflix's recently released '2026 First Half Viewing Report,' global viewing hours reached 97 billion. Non-English content accounted for more than one-third of total viewing, with Korean content representing the largest share.
'Education Through Love' climbed to sixth place in the global rankings within a month of its release, while 'Mr. Kim' maintained the number one spot in the non-English TV category for three consecutive weeks, demonstrating the potential for simultaneous success between domestic broadcasters and global OTT platforms.
K-content is now establishing itself as a key asset that influences the success of global platforms, moving beyond merely being popular overseas.
Interestingly, Netflix's success formula is changing. In the past, follow-up seasons of proven series like 'Squid Game' and 'Stranger Things' drove platform growth, but in the first half of this year, new releases have taken the lead.
New works such as 'Education Through Love' and 'Can This Love Be Translated?' are attracting global audiences, highlighting the creativity and planning capabilities of K-content once again.
However, there is a growing call for further advancement. With K-content's competitiveness now proven, the future will depend not only on 'creating good content' but also on 'how long and in how many ways that content can be monetized.'
In this context, the ownership structure of content is noteworthy. Most of the viewing of Korean content in the first half of the year came from licensed works owned by domestic broadcasters and production companies, rather than Netflix Originals.
This indicates that a new ecosystem is forming where Korean production companies retain IP while distributing to the global market, rather than global OTTs absorbing Korean content.
In fact, the economic impact of the content industry is also growing. According to the Korea Creative Content Agency, $1 million in content exports generates $5.7 million in domestic production and creates over 3,300 jobs.
Content exports have now grown to become one of South Korea's top 12 export items, alongside secondary batteries and home appliances. The export of the broadcasting and video industry has nearly tripled over the past eight years, supporting the industrial status of K-content.
Now, the challenge for the Korean content industry is clear. Rather than competing to increase the number of productions, it is becoming increasingly important to connect a single piece of content to various revenue streams. Strategies for IP expansion that lead to global OTT supply, seasonal production, spin-offs, overseas remakes, format sales, and secondary works such as webtoons and games are becoming essential.
CJ ENM is securing overseas production capabilities through its global studio Fifth Season, and the number of Korean creators participating in international projects is on the rise, reflecting this trend.
In a context of declining advertising markets and a shrinking broadcasting industry, global OTTs are no longer competitors to the domestic broadcasting industry. Instead, they are becoming the most realistic distribution networks for domestic producers to enter the global market and generate additional revenue.
With the influence of K-content growing, what is needed now is not just to create more hit works but to establish a sustainable industrial structure that connects production, distribution, and secondary businesses around IP. Moving beyond 'well-made dramas' to create 'long-lasting profitable content' is expected to be a new growth avenue for the Korean broadcasting industry in the K-content era.
* This article has been translated by AI.
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