Netflix research has found that 67% of surveyed members internationally expressed interest in visiting South Korea, a figure the streaming giant is using to make the case that Korean storytelling has become a global tourism engine. The finding was presented at the opening masterclass of Creative Asia, a new industry event in Busan organized by Netflix and local partners, where the company put the relationship between screen narratives and real-world locations at the center of the conversation.
Sung Q Lee, Netflix's senior director of APAC production, told the masterclass that the appeal of South Korea for viewers lies in the stories set there rather than in the scenery alone. His argument reframes the country's screen exports as something more than entertainment: they function as cultural ambassadors, drawing audiences into the specific places, neighborhoods, and rhythms of life that appear on screen. For a streaming platform that has invested heavily in Korean film and television, that dynamic represents both a creative achievement and a strategic asset.
The survey figure arrives at a moment when location-based viewing has become a measurable force in global entertainment. International hits set in Korea have repeatedly been followed by spikes in travel interest, with fans seeking out filming sites, restaurants, and landmarks they first encountered through a series. Netflix's research suggests that this pattern is not limited to a single title or genre but reflects a broader appetite among its members to experience the country firsthand.
Busan's Creative Asia event places that intersection of production and place at the forefront of its programming. By opening with a masterclass on the subject, organizers signaled that the conference intends to treat locations not as backdrop but as a core element of the creative process. The choice of Busan as host city is itself significant, given its role as a major production hub and its established identity as a center for Korean cinema.
For Netflix, the findings offer a useful data point as competition among streaming services intensifies across Asia. Korean content has been one of the platform's most reliable sources of global engagement, and executives have increasingly emphasized that success is measured not only in viewing hours but in cultural reach. The 67% figure gives that argument a concrete number to point to, linking on-screen narratives to real-world travel decisions.
The masterclass also underscored how production decisions can carry economic consequences beyond the entertainment industry. When a series showcases a particular region, the effects can ripple into tourism, hospitality, and local business. Lee's remarks suggest that Netflix sees its role in that chain as deliberate rather than incidental, with storytelling serving as the primary vehicle for interest in the country.
Creative Asia is positioned as a forum for industry professionals to discuss the region's production landscape, and the opening session set a tone focused on the tangible impact of creative work. As streaming platforms continue to invest in Korean projects, the relationship between what audiences watch and where they choose to go is likely to remain a central theme in both marketing and production strategy.
The survey results do not specify which titles or genres drove the interest, nor do they break down responses by country or age group. What they do indicate is that a substantial majority of surveyed Netflix members see South Korea as a destination they would like to visit, a sentiment the company is now highlighting as evidence of the cultural footprint created by its Korean slate.