Netflix’s unlikely summer blockbuster: A ‘KPop’ smash that took over the internet

It was bound to happen sometime. This year, the most important Hollywood movie of the key summer season didn’t start its quest for world domination in movie theaters. It came out on Netflix.

“KPop Demon Hunters,” the cartoon musical about a girl group using catchy tunes to keep evil at bay, has become a viral phenomenon since it launched on the streamer June 20. With 210 million views globally so far, it’s the most watched animated movie ever on Netflix, and is expected to soon top “Red Notice” as the company’s most popular film.

That should be no surprise at this point. Unlike many previous widely watched Netflix movies, “KPop” — produced by Culver City-based Sony Pictures Animation — has penetrated the cultural zeitgeist, leading to gushing from millennial parents’ group chats including mine, chart-topping songs and, of course, memes galore.

To keep the momentum going, Netflix took the unusual step of putting the movie in theaters weeks after its streaming debut.

“KPop Demon Hunters” sing-along screenings played in more than 1,750 locations domestically to packed houses, with more than 1,150 sold-out showings, though it did not play in AMC cineplexes. It was the No. 1 movie in theaters, scoring in the ballpark of $18 million in ticket sales, according to industry sources, enough to top the third weekend of Zach Cregger’s horror hit “Weapons.” Netflix released the sing-along version of “KPop Demon Hunters” for streaming on Monday.

Netflix, as is its typical practice, did not report actual box office grosses, so the counts for its first No. 1 box office hit aren’t official. Nonetheless, theater operators were clearly relieved to have the movie, even if for only two days. The August box office doldrums are in full swing, with little to cheer about from the traditional studios.

The summer blockbuster season is expected to end with about $3.5 billion in total revenue from the first weekend of May through Labor Day, according to analysts, which would be either roughly flat or slightly down from last year’s thin slate. More than $4 billion is considered normal or healthy by pre-pandemic standards.

The biggest hit this summer was Disney’s “Lilo & Stitch,” a live-action remake that collected $422 million in the U.S. and Canada and more than $1 billion globally. Last summer, two movies topped $600 million: Pixar’s “Inside Out 2” and Marvel’s “Deadpool & Wolverine,” both of which were Disney titles.

Netflix has had a tense relationship with the theatrical business since it first got into making movies. The company puts movies in cinemas for limited runs as part of marketing efforts, awards campaigns and as a way to appease filmmakers who prefer the big-screen experience. Co-Chief Executive Ted Sarandos earlier this year called the theatrical business “outdated” for most people, citing weak box office numbers after the COVID-19 closures.

Indeed, theatrical attendance has shrunk even more than the top-line revenue figures suggest, with shortfalls partly papered over by increases in ticket prices over the years.

When Scott Stuber ran Netflix’s film business, he pushed the company to do more with theaters because auteur directors wanted it. The film side is now run by Dan Lin.

People who advocate for the multiplex keep hoping that some event will persuade Netflix that its theory is wrong — that something like the “KPop Demon Hunters” screenings or next year’s Imax rollout for Greta Gerwig’s upcoming “Narnia” project will prove that Sarandos is mistaken and theatrical windows will actually benefit Netflix beyond using them as promotional ploys.

Rivals say their movies do better on streaming services when they’re already theatrical hits, a theme repeated by the new owners of Paramount who are trying to grow their direct-to-consumer business.

But if anything, Netflix is digging in.

The company sees the success of “KPop,” along with the recent release of “Happy Gilmore 2,” as proof that movies can resonate culturally without theaters and the massive advertising budgets necessary to open a film on 4,000 domestic screens. The Adam Sandler-starring sequel scored 46.7 million views in its first three days on the service and set a Nielsen record for the most-watched streaming movie in a single week.

Netflix has long faced skepticism from Hollywood over its film business, which can put up big viewership with movies like “Red Notice” and “The Adam Project” that seem to vanish from audiences’ consciousness without a trace.

We kind of already knew that movies, particularly animated musicals aimed at kids, could find a big audience online without being a theatrical smash. “Encanto,” released in November 2021 during the pandemic and the Bob Chapek era, did paltry box office by modern Disney standards but became a phenomenon when its Lin-Manuel Miranda-penned songs took off on social media.

When kids latch onto something, they watch it repeatedly, and they don’t care if it’s been in theaters or not. If the movie is good and relevant to them, it can work regardless of the release strategy.

Would “KPop Demon Hunters” have worked if it had been released in theaters exclusively? Who knows. If it had opened to modest box office results, as animated original movies tend to do lately, it would have immediately been written off as a disappointment. Instead, it stayed on the Netflix top 10 lists for weeks and climbed the Nielsen rankings because of word of mouth.

Part of its success is that the movie feels very “now,” whereas animated films sometimes aim for timelessness. It’s culturally specific, with universal themes (friendship and young people’s need to belong) that have powered Disney blockbusters for decades. A colleague of mine aptly described it as a sort of “Buffy the Vampire Slayer” meets “Frozen.” Its music is current and rides the wave of everything influenced by South Korean pop culture.

Will it have the enduring influence of the “Frozen” franchise or “Moana,” movies that started primarily as properties for girls but became touchstones for a broader audience? Perhaps not, but it does give Netflix another data point to validate its streaming movie strategy.

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