A Korean woman finishes her commute in Paris and opens Netflix to resume the next episode of “When Life Gives You Tangerines.” A university student in Sao Paulo does the same. This is Hallyu in 2026—not discovery but routine. The data now proves it.
The Ministry of Culture, Sports and Tourism and the Korea Foundation for International Cultural Exchange released the 2026 Overseas Hallyu Survey on Monday. Now in its 15th year, the survey tracked 27,400 people across 30 countries between November and December. This year’s edition added Singapore, Chile, and Poland for the first time.
Consumers of Korean content now spend an average of 14.7 hours and $16.60 per month, up from 14 hours and $15.40 last year. Audiences encounter scenes, songs, or beauty tutorials on short-form platforms, then migrate to OTT services to consume the original. For variety shows, social media and short-form platforms serve as the primary entry point for 61.4 percent of consumers, outpacing OTT as a first touchpoint.
K-pop remains the cultural product most associated with Korea globally. However, food topped the experience rate chart, slightly ahead of film, drama, and music. The “North Korean nuclear threat” dropped out of the top 10 entirely. IT products and automobiles displaced it, suggesting Korea’s global image now centers on culture and technology rather than geopolitical anxiety.
This cultural saturation extends beyond Asia. While Asia-Pacific markets continue reporting the highest overall experience rates, Western countries posted the strongest growth. In the US, experience rates for Korean film, drama, and variety programs all rose more than 10 percentage points year-on-year. The UK saw gains up to 12.3 percentage points in fashion, animation, and publication categories. Across Southern Europe, Korean music surged: France up 11.3 points, Italy up 9.7, Spain up 6.4.
For researchers who have conducted this survey for fifteen years, the acceleration in Western markets represents a qualitative shift. Korean content is crossing into the “primary culture market”—no longer a niche imported preference but a competitor for primetime attention.
Familiar titles still dominate. “Squid Game” holds first place among dramas at 12.4 percent. “Parasite” retains the top spot among films at 8.3 percent. PUBG: Battlegrounds has held first place in gaming for five consecutive years. However, 2025 brought genuine challengers. “When Life Gives You Tangerines” debuted at No. 2, with particularly strong resonance in Latin America. In animation, “King of Kings” entered the top five in its release year.
BTS held the title of most-preferred Korean musical act for the eighth consecutive year. Lee Min-ho claimed first place among actors for the thirteenth year running. IU appeared in both rankings. This year’s survey also asked respondents to name the most influential Hallyu figure of 2025. BTS took the top spot, followed by Lee Min-ho, Blackpink, Jungkook, and Lisa. Esports entered the rankings: League legend Faker tied for fifth with IU.
The survey also explored drivers of negative sentiment. “Excessive commercialism” led the responses at 16.1 percent. Concerns about the North Korea situation and inter-Korean division followed at 12.9 percent. Inappropriate behavior by Korean celebrities came third at 11.5 percent. Anxiety about the impact of foreign content on domestic cultural industries ranked fourth at 11.3 percent.
Park Chang-sik, president of KOFICE, said the results show Hallyu has moved beyond a simple content trend to become structurally embedded in global markets. He added that the foundation will analyze the changing consumer environment through enhanced research and support sustainable growth strategies for the industry.
The 2026 Hallyu Survey confirms that Korean content has reached cultural saturation in Western markets. Consumers spend nearly 15 hours and $17 monthly on Korean content, with growth accelerating most sharply in the US, UK, and Southern Europe. The “North Korean nuclear threat” has dropped out of the top 10 global image concerns, replaced by IT products and automobiles. BTS, Lee Min-ho, and Squid Game remain top preferences, but new titles and even esports figures are now entering the mainstream. This cultural saturation now positions Korean content not as a niche import but as a competitor for primetime attention in global entertainment markets.
