Netflix’s HUNTR/X: Managing a Fictional Music Group That Suddenly Became Real

01. The Call

Alex Jeong’s phone rang at 11:43 PM on a Tuesday. “Alex, it’s Marcus from Republic Records. Listen, I know it’s late, but we’ve got a situation. Jimmy Fallon wants the girls for October 7th. They want to do ‘Golden’ live, full choreography, LED screens, the works.”

Alex sat up in bed. The Tonight Show. A major U.S. late nNetflix’s HUNTR/X: Managing a Fictional Music Group That Suddenly Became Realight stage, just months after launch, for a fictional girl group from an animated film no one had expected to matter.

“Marcus, that is incredible, but…”

“I know, I know. We need clearances. Choreography rights, character styling, clip usage, the whole nine yards. NBC wants an answer by Friday. Can Netflix move that fast?”

Alex looked at the ceiling. Could Netflix move that fast? Netflix was built to promote films, not to manage the careers of musicians who voiced animated characters. She was not even sure whose departments needed to weigh in: Legal, Brand, Consumer Products.

“Let me see what I can do,” she said.

After she hung up, Alex opened her laptop. The Slack messages were already multiplying. People wanted decision trees by morning. Legal needed approval protocols. Brand wanted messaging guidelines. Everyone was asking questions no one knew how to answer. She opened a document and stared at the blank page.

Six months ago, she had been assigned a mid tier animated musical acquisition. Standard playbook. Modest expectations. Launch it, let it run its course, move on. Now she was fielding midnight calls about The Tonight Show performances for a K pop group that technically did not exist. How had this happened?

Alex Jeong @Marketingaroo

02. Six Months Earlier: The Film Nobody Expected to Chart

Alex had five titles launching that quarter. KPop Demon Hunters was supposed to be the easy one. Sony Pictures Animation had produced it for Netflix under the companies’ broader partnership, with Netflix holding distribution and major franchise exploitation rights. It was a vibrant, fun, well made animated musical featuring a fictional K pop girl group of demon hunters. Her job was simple: global trailer, key art, TikTok choreography drops, regional press. Launch it. Move on.

The film launched on June 20, 2025 as a Netflix title. All assets were deployed. Everything went live. The runtime was in the mid 90 minute range, tight, energetic, and designed for rewatchability. These first weeks were both exciting and worrisome. The movie was doing better than expected, much better.

Animated films on the service usually followed a predictable curve: strong opening, a steep Week 2 decline, and a plateau by Week 3. The models had been validated across hundreds of titles over years of releases. This film started to behave differently. Week one had been strong, as expected. The film had landed solidly among the top titles globally. Then Week two hit, and instead of the expected decline, viewership increased. Alex refreshed her dashboard multiple times, certain there was a data error.

Over the following weeks, the film climbed and then settled into a performance level several times above its original forecast, and it was not dropping quickly. It was behaving like a slow build phenomenon rather than a one-week spike. By its fifteenth week it had become Netflix's longest-running film on the English-language Top 10, having spent eight weeks at number one and seven at number two, never falling below second place in its first seventeen weeks. The previous record had been held by Red Notice, which charted for fourteen weeks in total.

Then the external signals started flooding in. The soundtrack gained rapid international traction, with 'Golden' quickly emerging as the breakout song across multiple markets. In South Korea, it achieved a perfect all-kill on the charts, breaking the record for the most hourly perfect all-kills ever recorded. In the United States, the soundtrack became the first in Billboard Hot 100 history to place four songs in the Top 10 simultaneously, and would be certified double platinum by October 2025. Within days, the track was behaving more like a release from an established girl group than a soundtrack cut from an animated film. Fan made “fancams” of the characters spread across TikTok and Twitter, with fans editing character footage as if they were watching real idol performances. HUNTR/X-related hashtags were trending in the US, Korea, Thailand and Brasil. By the end of the second week, the song had generated major streaming momentum across platforms.

Mainstream outlets started to notice. Articles appeared that marveled at a fictional K pop group from a Netflix animated film climbing global charts. Regional teams reported that fans were treating HUNTR/X like an actual K pop debut, creating lightsticks, trading photocards, and organizing online fan spaces.

Alex stared at the numbers. Within the first weeks after release, KPop Demon Hunters had risen to the top of Netflix's global film rankings. By August 26, just ten weeks after launch, it had surpassed 236 million views, overtaking Red Notice to become the most-watched film in Netflix history. What was supposed to be a mid-tier animated musical carried a 95% score on Rotten Tomatoes and had become the centre of a fast-growing fandom ecosystem that Netflix had never planned for.

03. The Merchandise Panic

Alex was looking at the pinned email from the Consumer Products team with the subject line: “WHERE IS THE MERCH???” The email mentioned thousands of individual customer inquiries, all asking the same question: where could they buy official HUNTR/X products? Photocards. Lightsticks. Character plushies of Rumi, Mira, and Zoey. Shirts with the group logo. Replica accessories from the film. The things K pop fans expected to buy.

The answer was - nowhere. Netflix had no licensing partnerships in place.

Netflix’s consumer products strategy had always relied on licensing partnerships with retailers and manufacturers. The company typically worked with retailers such as Target and Walmart, toy companies such as Funko and Mattel, apparel brands, and specialty manufacturers that would pay licensing fees to produce and sell Netflix branded merchandise. The model had worked well for titles such as Stranger Things and Bridgerton. Netflix’s small consumer products team negotiated deals after a show proved successful, then collected royalties while partners handled manufacturing, distribution, and retail risk.

Those partnerships, however, took time to negotiate and execute. A typical timeline might be three to six months to finalize licensing agreements, then another six to nine months for product development, manufacturing, and distribution. For KPop Demon Hunters, Consumer Products had classified the film as “evaluate post launch,” which meant they would assess fan demand before reaching out to potential licensing partners. No one had expected fans to demand merchandise immediately.

This film created urgent demand. Fans were not waiting. Within weeks, unofficial merchandise flooded online marketplaces and physical retail. Etsy shops sold custom HUNTR/X enamel pins and posters, some generating thousands of orders. Taobao vendors offered bootleg photocards and keychains that replicated the film’s aesthetic with surprising accuracy. Instagram accounts advertised handmade lightsticks that matched each character’s color scheme. In Thai and Korean street markets, full HUNTR/X merchandise stalls began to appear, placing the fictional group’s products alongside merchandise for real K pop idols.

A business reporter called Alex for comment on a story about Netflix being caught off guard by demand for a fictional K pop group. She declined to comment. What would she have even said? That they had not thought anyone would care this much about characters they had barely marketed? The article ran anyway, with photos of street vendors selling HUNTR/X merchandise and customers lined up to buy. One vendor was quoted saying the items were outselling some of the real idol group merchandise because “the characters are so cute and the music is actually good.”

Alex read it twice. Fans were not treating HUNTR/X like a movie. They were treating it like their own group. Netflix had no official products to sell and would not have any for months, even if they started negotiating licensing deals immediately.

04. The Artists Become Real

EJAE, Audrey Nuna, and Rei Ami had been hired to sing, record vocals, do some promotional interviews during the film’s launch week, and then move on to their individual music careers. They did not work or even know each other before the movie, and recorded the songs separately, publicly seen together for the first time during the premier. Suddenly they have become the girl group "HUNTR/X".

Their social media profiles exploded. EJAE’s follower count jumped dramatically in a matter of weeks. Audrey Nuna’s monthly listeners surged. Rei Ami’s TikTok became a destination for fan edits that treated her as if she were Zoey from the film, with compilations of her voice clips and photos edited to match the character’s styling.

The music industry reacted with a speed that Netflix could not match. EJAE signed with WME for worldwide representation, one of the most powerful talent agencies in entertainment. Rei Ami expanded her existing partnership with UTA, another major agency. Audrey Nuna’s management at SMG Entertainment started booking festival appearances and international press, leveraging the momentum for global visibility.

Within a short period after the film’s release, the trio seemed to be everywhere. Radio shows. Morning television programs. Entertainment podcasts. Celebrity profiles framed them as one of the year’s most surprising breakout acts. Commentary described them as a fictional K pop group that appeared to be blurring into reality. Each new appearance generated fresh requests that ultimately landed on Alex’s desk.

The asks were always similar. Could the artists wear character inspired outfits? Could they use HUNTR/X branding? Could they tease the sequel? What could they say about the characters versus themselves? Could they perform “Golden” with choreography that matched the film?

Here was the problem Netflix had not anticipated. The company did not manage these artists. Their agents did. Their labels did. Their management companies did. Netflix controlled the film and the characters. Netflix controlled how the HUNTR/X universe was presented and licensed. Netflix did not control the talent.

Netflix had become a gatekeeper that approved or rejected requests for opportunities other people had already booked. Republic Records would secure a radio appearance, then email Netflix to ask whether the artists could mention the film. An agent would book a magazine cover, then ask if the styling could reference the characters. A festival organizer would confirm a performance slot, then request permission to use film footage on screens during the set.

It was the reverse of Netflix’s usual mode of operation. The company was used to driving its own promotional campaigns, controlling the narrative, and setting timelines. This was different. The music industry moved in days and weeks, not in months and quarters. Decisions that would have taken Netflix’s cross functional teams two weeks of meetings were being made by labels and agents in windows of 48 to 72 hours.

Alex found herself in an endless loop of approval requests, always reactive, never proactive. She was coordinating with Republic Records’ promotional team, with WME’s music division, with UTA’s cross platform department, and with SMG’s international strategy group. Every conversation required translating between industries that spoke different languages and operated on different timelines. It felt like being asked to co sign a lease for an apartment someone else was already living in.

05. The Fallon Email

All of this brought her back to Marcus’s midnight call.

The Tonight Show. October 7th. NBC wanted EJAE, Audrey Nuna, and Rei Ami to perform “Golden” live with full choreography, character inspired costumes, and cinematic LED visuals displaying footage from the film. Republic Records had already negotiated the booking. NBC had already cleared the slot. The artists’ agents had already agreed to terms. The performance budget had been set at industry standard rates for rising musical acts. Now they needed Netflix’s approval.

They needed clearance for choreography, since the dance had been created specifically for the film and was owned by Netflix. They needed clearance for styling, since the costumes would reference the characters’ designs from the movie. They needed clearance for film clips that would display on massive LED screens during the performance, creating a visual bridge between the animated world and the live artists. They needed guidance on promotional language NBC would use to introduce the performance. Could they call the trio HUNTR/X, or should they emphasize the artists’ individual names?

Alex opened her inbox and counted. Six people were already copied on the approval request. Republic Records’ promotional director. EJAE’s agent from WME. Rei Ami’s agent from UTA. Audrey Nuna’s manager from SMG Entertainment. A lawyer from Netflix Legal, who needed to review every contract clause. A representative from Netflix Brand, who worried about maintaining the film’s image and associations. Everyone was ready to move. The talent was confirmed. The network was committed. The date was locked. NBC had already started promoting the episode with a promise of a surprise musical guest, building buzz without revealing the specific artists.

The conference call was scheduled for nine in the morning. Six parties across three time zones. Seventy two hours to reach consensus and confirm the booking, or NBC would move on to its backup musical guest.

Alex opened a new document and typed: “What are we actually approving here?” Were they approving a film promotion, a five minute segment that would drive viewers back to Netflix, boost the film’s continued performance, and maintain brand association? Or were they managing the career trajectory of a music group, coordinating with labels and agencies on an ongoing artist development strategy that could continue for years? Netflix was built for the first. This situation required the second. No one had a clear plan for what came next.

After two days of negotiations across multiple time zones, multiple legal teams, and more tracked changes documents than Alex could count, Netflix approved the performance.

She watched from her apartment as EJAE, Audrey Nuna, and Rei Ami took the stage on The Tonight Show. The choreography was sharp, clearly rehearsed to professional standards. The LED screens behind them displayed cinematic footage from the film. The audience screamed as if they were watching an established K pop group perform a comeback single.

The trio wore outfits that referenced the characters without directly copying them, enough to signal HUNTR/X without looking like costumes. The styling had required several rounds of approvals between Netflix and the artists’ teams. Every detail had been negotiated: neckline heights, accessory designs, even whether they could wear hair clips that matched the characters’ signature styles.

The performance ended to thunderous applause. The crowd roared. The artists bowed, grinning and breathless, their faces flushed with adrenaline. Fallon brought them over for a short interview segment where they talked about the film, the characters, and what it felt like to be part of what he called “a legitimate phenomenon.” They were poised, professional, and clearly media trained. They gave polished soundbites about how the film had changed their lives and how grateful they were to the fans.

Within a day, the performance had spread widely online and generated substantial social media attention. Fan edits, reaction videos, and frame by frame breakdowns flooded TikTok. Entertainment blogs began to speculate: could HUNTR/X become a “real” group? On the surface, it was perfect. It was polished, exciting, and the kind of moment that could generate millions of impressions and drive viewership back to the film for weeks.

Alex felt uneasy. She realized that Netflix was not leading this. Netflix was chasing it. The music industry had booked the performance. The artists’ teams had negotiated the terms. Republic Records had coordinated with NBC. Publicity announcements were timed for maximum impact by people who understood music industry cycles. Netflix had simply been asked to say yes or no.

06. The Long Gap

Weeks after the Fallon performance, the situation had only grown more complicated.

By the end of 2025, Netflix's own semiannual data reported 481.6 million views for the film in the second half of the year alone – more than the combined totals of the three films that had led the same chart in the three preceding periods. Nielsen Media Research reported that the film accumulated 20.5 billion minutes of US watch time across 2025, ranking it the most-streamed film of the year across all platforms, not just Netflix. Reporting indicated that a sequel to KPop Demon Hunters was in development with a target release in 2029. That meant several years between the first film and the next major story beat.

The fandom, however, was behaving like a K pop fandom, not like a typical animated film audience. Fans wanted more music, live performances, behind the scenes content, and regular touchpoints, from a full length HUNTR/X album to concert tours and fan meetings. They were not content to wait quietly for a distant sequel.

The soundtrack kept reinforcing that this was not a one off event. Golden spent weeks at number one on major charts. The album placed multiple tracks in the Top 10 at the same time. The project received multiple Grammy nominations. From a fan perspective, HUNTR/X now looked and felt like a real group, not a one time movie tie in.

On the consumer products side, Netflix had scored a major win. In October 2025 it announced Mattel and Hasbro as global co master toy licensees for KPop Demon Hunters, with dolls, figures, plushies, games, and other products scheduled to reach retail starting in spring 2026. That timeline meant official merchandise would arrive roughly nine to ten months after the June 2025 launch.

Partners, however, were already feeling the friction. Music and live event teams operated on windows measured in days and weeks. Netflix’s approval processes often ran on timelines measured in weeks and months. Internally, people began to admit that approvals for HUNTR/X related requests were materially slower than what the music industry expected.

The December meeting brought those tensions into one room. On one side sat Netflix Marketing, Consumer Products, Brand, Legal, and Business Development. On the other sat Republic Records and representatives from the artists’ agencies.

Republic Records said plainly that they wanted to release an HUNTR/X related EP in 2026 and needed clear rules for how far they could go with character imagery and branding. The agents emphasized that some of the most valuable invitations, such as major award shows and festivals, required decisions within 48 to 72 hours. Netflix Brand repeated the importance of keeping HUNTR/X closely associated with Netflix. Legal underscored the need to protect long term franchise value and avoid uncontrolled brand drift. Everyone agreed that the current model was not working. No one agreed on what the new model should be.

Back at her desk, Alex tried to make the choice explicit.

One option was an active partnership model. Netflix would build a dedicated team that worked closely with music, talent, and consumer products partners on HUNTR/X and similar franchises. That team would prioritize speed, attend planning meetings, and help coordinate releases across film, music, merchandise, and live events. It would require new capabilities and a meaningful annual budget. It would also give Netflix more influence over how the franchise evolved.

The other option was a licensing platform model. Netflix would focus on owning and protecting the core IP, while granting partners more autonomy within negotiated guardrails. Republic Records would lead on music. Talent agencies would lead on appearances. Mattel and Hasbro would lead on product and retail. Netflix would approve a smaller set of major strategic decisions and would accept that day to day choices would move at partner speed, not Netflix speed.

Somewhere between those options sat the current reality, a reactive approval bottleneck that pleased no one.

Alex thought about companies like HYBE, which had built its business on managing continuous fan engagement, recurring content, and rapid merchandising cycles. She thought about Disney, which had decades of infrastructure to support animated hits, such as Encanto, with music and merchandise. She thought about Netflix’s focus on subscriptions and its value in the market, built on the strength of its content pipeline.

Alex also knew that any decision about HUNTR/X might set a precedent. If another property ever behaved like this, would it automatically qualify for the same level of active partnership, or would HUNTR/X remain a one time exception?

Her final slide for the leadership meeting had a single question at the top.

For franchises like HUNTR/X, does Netflix want to behave like an active operating partner in music and merchandise, or does it want to remain primarily a streaming platform that licenses the rest?

Disclaimer

This case is fictional and intended for educational purposes only. It is not affiliated with or endorsed by Netflix or any of the companies mentioned in the case. The narrative and characters are fictional, but the strategic challenges are based on real market dynamics. The case draws from publicly available sources including financial reports, industry reports, contemporary journalism, academic research, and documented social media analysis. All statistics are sourced and represent the best available information as of March 2026. This case is designed to facilitate learning through analysis and discussion, not to represent any company's actual internal operations or decisions.

References

• BBC News. (2025, August 26). KPop Demon Hunters becomes Netflix’s most viewed film ever. https://www.bbc.co.uk/news/articles/c1kz12v08l1o

• CNBC. (2025, October 21). Netflix strikes “KPop Demon Hunters” toy deals with both Mattel and Hasbro. https://www.cnbc.com/2025/10/21/netflix-kpop-demon-hunters-toys-hasbro-mattel.html

• Netflix. KPop Demon Hunters [Title page]. Netflix official site. https://www.netflix.com/title/81498621

• IGN. (2025, October 8). EJAE, Audrey Nuna, and Rei Ami of KPop Demon Hunters bring down the house with “Golden” on The Tonight Show. https://pk.ign.com/kpop-demon-hunters/245498/news/ejae-audrey-nuna-and-rei-ami-of-kpop-demon-hunters-bring-down-the-house-with-golden-on-the-tonight-show

• The Tonight Show Starring Jimmy Fallon. (2025, October 18). EJAE, Audrey Nuna and Rei Ami from KPop Demon Hunters take on a demon, talk and perform “Golden” [Video]. YouTube. https://www.youtube.com/watch?v=illifpkHW98

• Netflix. (2025, October 21). For the fans! Netflix goes Golden, forging unprecedented “KPop Demon Hunters” master toy partnerships with Mattel and Hasbro. https://about.netflix.com/news/netflix-kpop-demon-hunters-forge-master-toy-partnership-with-mattel-and-hasbro

• Reuters. (2025, October 21). Netflix taps Mattel, Hasbro for “KPop Demon Hunters” toys. https://www.reuters.com/business/media-telecom/screen-shelf-netflix-taps-mattel-hasbro-kpop-demon-hunters-toys-2025-10-21

• The Hollywood Reporter. (2025, October 21). Netflix inks major deals with Mattel and Hasbro for “KPop Demon Hunters” toys, games and products. https://www.hollywoodreporter.com/business/business-news/netflix-kpop-demon-hunters-toys-games-mattel-hasbro-deal-1236405959

• Jing Daily. (2025, September 22). How Netflix’s “KPop Demon Hunters” became a global hit. https://jingdaily.com/posts/how-netflix-s-kpop-demon-hunters-became-a-global-hit

• ContentGrip. (2025, September 8). How Netflix’s KPop Demon Hunters cracked the internet. https://www.contentgrip.com/kpop-demon-hunters-viral-strategy

• Fullintel. (2025, August 19). KPop Demon Hunters: Streaming’s accidental global phenomenon. https://fullintel.com/blog/k-pop-demon-hunters-streamings-accidental-global-phenomenon

Discussion questions

Q1. Jobs to be done and dynamic capabilities

HUNTR/X fans seem to “hire” the franchise for a different job than fans of Stranger Things or Squid Game. Instead of one off entertainment, they expect identity, community, and continuous parasocial engagement.

• a) Using a jobs to be done lens, how would you describe the job HUNTR/X is doing for its fans, and how does that differ from typical Netflix hits?

• b) Applying Teece’s dynamic capabilities (sensing, seizing, reconfiguring), evaluate whether Netflix can realistically build the capabilities needed to serve this job through the Active Partnership Model, or whether its subscription based business model and culture make that a poor fit.

• c) If Netflix does build these new capabilities for HUNTR/X, what are the risks that it undermines or distracts from the model that made the company successful to date?

  
  

Q2. Agency problems in the HUNTR/X ecosystem

Netflix owns and controls the HUNTR/X IP, but music labels, talent agencies, and consumer products partners control most day to day execution.

• a) Map the key principal agent relationships in this ecosystem. Who is the principal and who is the agent in each relationship, and what does each side optimize for?

• b) Using agency theory, analyze the “lost opportunity” situations in the case, such as delayed approvals for major appearances. Are these best understood as adverse selection, moral hazard, or coordination failures? Who is actually “failing” whom?

• c) Design a governance approach that specifies which decisions Netflix should retain, which it should delegate, and what mechanisms, such as monitoring, incentives, or contracts, could work at music industry speed. What trade offs would your design create?

  
  

Q3. Learning from an outlier: how should Netflix prepare for the sequel?

Netflix must make decisions about the 2029 sequel while HUNTR/X is still a first of its kind phenomenon.

• a) Using March’s exploration versus exploitation framework, what aspects of the first film’s success should Netflix “exploit” by repeating or scaling them, and where should it “explore” new approaches in partnerships, merchandise timing, or artist contracts?

• b) Drawing on organizational learning theory, what are the risks of superstitious learning and competency traps in this situation? How might Netflix misinterpret the causes of HUNTR/X’s success?

• c) Propose a sequel strategy that builds in learning mechanisms under uncertainty. How can Netflix design for real options and mid course corrections, given that meaningful feedback may arrive on a four year cycle?

  
  

Q4. Strategic fit or strategic overstretch?

HUNTR/X sits at the intersection of streaming, K pop music, and global fandom merchandising.

• a) Using Prahalad and Hamel’s core competence lens, what are Netflix’s core competences today, and which of the capabilities required by HUNTR/X lie outside that core?

• b) Frame Netflix’s options for HUNTR/X on Ansoff’s growth matrix. Which combinations of existing or new markets and existing or new capabilities do the Active Partnership and Licensing Platform models represent?

• c) Should Netflix deliberately greenlight projects like HUNTR/X that stretch beyond its core competences, or should it focus on content that fits its current strengths? What criteria would you build into the greenlight process to distinguish healthy strategic stretch from dangerous overstretch?

  
  

Suggested reading:

Jobs to be done and disruptive innovation

• Christensen, C. M., Hall, T., Dillon, K., & Duncan, D. S. (2016). Competing against luck: The story of innovation and customer choice. New York, NY: Harper Business.

• Christensen, C. M., Johnson, M. W., & McGrath, R. G. (2019). What is disruptive innovation? Harvard Business Review Press.

  
  

Dynamic capabilities

• Teece, D. J., Pisano, G., & Shuen, A. (1997). Dynamic capabilities and strategic management. Strategic Management Journal, 18(7), 509–533.

• Teece, D. J. (2007). Explicating dynamic capabilities: The nature and microfoundations of sustainable enterprise performance. Strategic Management Journal, 28(13), 1319–1350.

  
  

Agency theory

• Jensen, M. C., & Meckling, W. H. (1976). Theory of the firm: Managerial behavior, agency costs and ownership structure. Journal of Financial Economics, 3(4), 305–360.

• Eisenhardt, K. M. (1989). Agency theory: An assessment and review. Academy of Management Review, 14(1), 57–74.

  
  

Organizational learning, exploration and exploitation

• March, J. G. (1991). Exploration and exploitation in organizational learning. Organization Science, 2(1), 71–87.

• Levitt, B., & March, J. G. (1988). Organizational learning. Annual Review of Sociology, 14, 319–340.

  
  

Core competences and strategic stretch

• Prahalad, C. K., & Hamel, G. (1990). The core competence of the corporation. Harvard Business Review, 68(3), 79–91.

• Hamel, G., & Prahalad, C. K. (1993). Strategy as stretch and leverage. Harvard Business Review, 71(2), 75–84.

  
  

Ansoff’s growth matrix

• Ansoff, H. I. (1957). Strategies for diversification. Harvard Business Review, 35(5), 113–124.

  
  

Appendices

Netflix Top 10 for the week of Sept. 22-28

Variety (2025, September 30): “KPop Demon Hunters breaks another Netflix record with 15 straight weeks on Top 10.” https://variety.com/2025/tv/news/kpop-demon-hunters-record-weeks-top-10-1236535187

Netflix Top 10 for Oct. 27-Nov. 2

Variety (2025, November 4): “‘KPop Demon Hunters’ hits 20 weeks on Netflix Top 10.” https://variety.com/2025/tv/news/kpop-demon-hunters-20-weeks-netflix-top-10-1236569733/