In contemporary international relations, cultural diplomacy has emerged as a critical tool of soft power, shaping cross-boundary perceptions and building alliances. South Korea’s decision to transform its culture from a “simple” entertainment into strategic goals provides an area of research that needs to be explored. The entertainment industry has undergone a significant dynamic shift with K-pop and Korean dramas emerging as transitional networks. The case study of South Korea justifies the term “soft power” coined by Joseph Nye.
The influx, which started from a small country in East Asia, dispersed to Southeast Asia, the Middle East, Europe, and America. This growth of Korean popular culture, music, Netflix series, shows, and musical bands is known as Hallyu or Korean Wave, the idea promoted by President Kim Dae-jung when the Asian Financial Crisis of 1997 gripped the Southeast Asian countries.
The realization first hit in 1993 when the government realized that “Jurassic Park” earned more in Korea than car exports. The first wave began in the late 1990s when the 97 series (What is Love) got famous in China with 150 million views, the groundbreaking number for a foreign series at that time. It was followed by “Winter Sonata” in 2002 in Japan, where it generated over $3.5 million in direct sales in Japan, and created “Yom Sama” mania in middle-aged Japanese women. It boosted tourism to Japan by 34% in 2024. This drama was then dubbed in Turkish, and by the mid-2000s, Turkish audiences embraced Korean dramas. The second wave from 2000 to 2015 was of regional expansion and idol integration. Modern rom-coms won hearts in China, Southeast Asia, and the Middle East.
TVXQ, Girls’ Generation, BigBang, and Super Junior achieved exceptional success. PSY’s Gangnam Style became the first Korean video to hit 1 billion views. In the third wave, from 2015 to 2020, Netflix, YouTube, and Spotify amplified Hallyu. Crash Landing on You, Goblin, and Descendants of the Sun made Korea a global cultural powerhouse. The fourth wave (present) is marked by the global mega hits.
K-dramas have accelerated the Hallyu economy. “Squid Game” amassed a staggering 231 million views across all seasons, with season 2 and season 3 becoming the second and third most-watched series on Netflix globally. Season 3 became Netflix’s biggest TV launch ever. Squid Game contributed to the revenue of $11.08 billion for Netflix, marking a 16% year-over-year rise. It won 6 Primetime Emmys in 2022, the first non-English series to do so. Lee Jung Jae became the first Asian actor to win an Emmy for lead actor. He became a Hollywood lead in Star Wars. The Korean film “Parasite” won the Best Picture Award, becoming the first non-English film to mark this achievement.
BTS became the first K-pop band to top the Billboard Hot 100. It generated about $5 billion annually for Korea’s GDP. Its followers declare themselves as the BTS army. BlackPink became the first K-pop girl group to headline Coachella. The Born Pink World Tour became the highest-grossing tour ever made by a female group. The entire Korean wave is estimated to generate over USD 12.4 billion annually.
You will find more infographics at Statista
The K-pop Songs Setting YouTube Records by Statista licensed under CC BY-ND 4.0
K-dramas have instigated the great appeal for South Korea and Korean culture. There has been a surge in people’s interest from all over the world in Korean culture, way of life, education, and tourism. Like the Confucius Institutes of China, the King Sejong Institute network has extended to 252 centers in 87 countries, up from 248 centers in 85 countries in 2024. From 740 students in 2007 to over 210,000 learners, this network has seen a growth trajectory.
In 2023, Korean ranked #6 among Duolingo’s most studied languages globally. In 2023, Korea became the largest fast-growing language course. In the U.S. and Vietnam, it is the second most desired Asian language. Learners are motivated not just by the entertainment but also by academic, career, and broader cultural interests. South Korea is emerging as an educational hub in Asia. In 2023, it hosted about 200,000 international students, a record high, according to the Ministry of Education. Surveys show that about 50% of students cite K-culture as an influence in choosing Korea. The Global Korea Scholarship provides full funding to thousands of students. So what started from entertainment has led to education.
A 2023 Korea Tourism Organization report revealed that more than one-third of tourists decided to visit after exposure to the Korean wave. In 2024, South Korea welcomed approximately 16.37 million international tourists, 48.4% above 2023. In 2025, this number rose to 37%. Cultural exports of South Korea’s dramas continue to shape tourism patterns. In May, Seoul introduced visa-free entry for Chinese tourists to boost tourism. The target is 30 million visitors by 2030, almost doubling pre-pandemic records. Goblin filming sites, Parasite locations, the Squid Game experience zone, Nami Island, linked to the Winter Sonata, and many others have become prominent tourist attraction points. Tourism is not just economic; the excitement of tourists to connect themselves with the filming sites carries back Korea’s cultural heritage.
Product placements are a profitable business and driver of soft-power engines in Korean dramas. It is when brands pay to promote and sponsor their products naturally through K-dramas. It’s an integrated cultural marketing strategy.
According to the KOCCA, 70% of Korean dramas feature product placement. K-dramas created a huge consumer market, ranging from fashion and beauty to food and beverages. Son Ye-jin in “Crash Landing on You” used CLOY lipsticks and BB creams that were immediately sold out after the drama aired. “My Love from the Star” created “the YSL lipstick syndrome.”
Korean skincare product brands have earned global recognition. Korean office style and casual fashion have also gained massive appreciation. Dior, Chanel, Cartier, and Gucci, along with other brands, partner with top actresses. “Vincenzo” and “Start-Up” boosted interests in Korean gadgets and culture. Samsung and LG phones prominently appear in Korean dramas. The “Chimaek” Phenomenon, Ramyeon (instant noodles), Samyang Buldak, etc., are everywhere on social media. Soju, a distilled alcoholic beverage, is now the number one selling spirit in the world due to its continuous promotion in every K-drama.
“Let’s Eat” was a whole drama built on the idea of promoting food culture that successfully boosted demand for Korean street snacks. Korean restaurant chains are spreading fast in the U.S., Southeast Asia, and the Middle East. In the U.S. alone, there are about 2000+ Korean-style BBQ restaurants. Pakistan is also trying to cash in on K-drama hype by investing in Korean restaurants and K-style fashion.
So soft power aligns side by side with hard power. South Korea gives a model of advertising its culture and media industry to gain international leverage, a model copied by Turkish dramas. The industry is developing fast, and a single Netflix series leaves a lasting impact. The dramas will likely create hype for K-films too, shifting interests from Hollywood to Far East Asia.
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Eman Fatima is currently pursuing her Bachelor's degree in International Relations from Government College University Lahore. She has a keen interest in understanding the complexities of global politics and the dynamics that shape international interactions.
