A+E Global Media taps into K-pop stars’ ‘extraordinary’ influence to drive growth

KUALA LUMPUR, 12 OCTOBER 2026 —

A+E Global Media Turns K-Pop Stardom into a Global Content Powerhouse, Backed by 14 Dramas, 47 YouTube Series and 200 Million Views

The company’s Korea division, led by chief Youngsun Soh, has embedded K-pop talent—from rising stars to global icons—into 14 original Korean dramas since 2017, while its YouTube series, including the viral Nego King, have amassed over 200 million views, proving the genre’s cross-border appeal.

The move underscores how K-pop’s cultural dominance is reshaping global entertainment, with A+E positioning itself as a key player in a market where streaming giants like Netflix and Disney+ are also racing to capitalize on the phenomenon.

By forging early ties with Korean talent agencies such as Fantagio, FNC Entertainment, and BH Entertainment, A+E is not only securing established stars but also nurturing the next generation of K-pop idols—turning them into mainstream television and digital stars before they reach peak fame.

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A+E’s K-pop strategy is built on a decade of localized success in Korea, where it launched History and Lifetime channels in 2017—a milestone the company will mark this year. International boss Patrick Vien described the approach as a deliberate shift from Hollywood-centric content to a "multi-Hollywood" model, where Korea is now a creative hub.

"There are different buckets to what we do, but the extraordinary power of K-pop plays a very important creative role in the kinds of shows we make and the casting choices we make," Vien told Deadline on the eve of MIPCOM, the annual media market in Cannes. "We used to live in one Hollywood, and now we live in several—and Korea is one of them."

The results speak for themselves. Of the 14 original Korean dramas A+E has produced since 2017, nearly all feature K-pop stars, including Astro’s Cha Eun-woo (A Good Day to Be a Dog), Got7’s Park Jin-young (The Witch), and CNBLUE’s Jung Yong-hwa, who stars in the upcoming Lifetime series Oh! My Guard.

The romance drama follows a melodramatic actor with a dark secret and a woman who believes she is the heroine of his fictional world—a premise that blends K-pop’s dramatic flair with mainstream appeal. "We have this expertise to build mainstream, K-pop-backed scripted shows that work on big network television in Korea, can work on Lifetime, and can work on streaming platforms like Hulu," Vien said.

Beyond scripted content, A+E has expanded into digital formats, producing 47 YouTube series that leverage K-pop’s viral potential. Nego King, now in its eighth season, has become a global phenomenon, racking up over 200 million views—four times Korea’s population. The show’s format—hosts negotiating discounts for everyday consumers—has proven a hit, blending entertainment with commerce.

"This has become a proven concept where people can enjoy the creative behind the show but at the same time buy stuff through the show," Soh explained.

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A+E’s K-pop-driven content strategy comes as the genre’s influence extends far beyond music, dominating television, streaming, and even advertising. The company’s approach contrasts with competitors like Netflix, which saw KPop Demon Hunters break viewing records last year, and Disney+, which inked a 10-project deal with Kakao Entertainment to develop K-pop-centric content. Vien acknowledged the competition but emphasized A+E’s advantage as an independent player, free from the constraints of streaming algorithms.

"We’re very much competitive against the natural other players in the marketplace, but we also take advantage of having an independent status from the streaming world," he said.

The company’s success hinges on deep local partnerships. Soh highlighted A+E’s "solid relationship with the Korean community," which facilitates talent deals and early access to rising stars. While some K-pop idols are cast after achieving fame, A+E also works directly with agencies to identify potential before they break through.

This early engagement has allowed the company to secure talent like Cha Eun-woo, whose 46 million Instagram followers amplify the reach of his projects, and Park Jin-young, whose 10 million followers lend credibility to The Witch.

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A+E’s K-pop strategy is not limited to Korea. The company’s dramas and digital series are distributed globally, with hits like the rom-com Love in Sync airing on Hulu in the U.S. and Disney+ in Japan and Korea. This agnostic approach—partnering with both local broadcasters and international streamers—ensures content reaches diverse audiences.

"Big global streaming platforms are our distribution partners; we work with them," Soh said, adding that the company’s ability to adapt content for different markets is key to its success.

The global appeal of K-pop-backed content is evident in regions beyond Asia. Vien noted that shows are increasingly selling fluidly between territories, including Latin America and Turkey, where local tastes align with Korea’s dramatic storytelling. "We’re very lucky that Youngsun and her team have demonstrated so much success and built extraordinary partnerships in markets like Korea because that’s vital," he said.

"We’re very focused on finding all the ‘Hollywoods’ and building business plans that allow us to invest locally and find secondary success globally."

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As A+E prepares for MIPCOM, where it will once again showcase its K-pop-driven content, the company’s strategy reflects a broader industry shift: the recognition that K-pop is no longer just a musical phenomenon but a cultural force capable of driving television ratings, digital engagement, and cross-border commerce. With 72 unscripted shows, 47 YouTube series, and a growing roster of K-pop stars, A+E is proving that the genre’s influence extends far beyond the stage.

The company’s ability to monetize K-pop talent—through dramas, digital content, and strategic partnerships—positions it as a leader in Asia’s entertainment boom. While competitors like Netflix and Disney+ chase K-pop’s global appeal, A+E’s early investments in local talent and digital innovation give it a distinct edge. As Vien put it, the future of entertainment is no longer confined to a single Hollywood—but to multiple creative hubs, with Korea at the forefront.

With MIPCOM set to begin, A+E’s K-pop strategy will be under the spotlight, offering a blueprint for how traditional media companies can thrive in an era dominated by digital-first audiences and global fandoms. The question now is whether other players will follow suit—or risk being left behind in the K-pop revolution.

Related: A+E Global Media