Hunters

As it turns out, ‘80s pop star Kate Bush and fictional girl group Huntr/x from “KPop Demon Hunters” have a lot in common.

Over the last several years, Netflix has positioned itself as one of the few video streaming services focused on making an impact in the music industry.

From the surprise revival of older songs like Bush’s “Running Up That Hill” and Metallica’s “Master of Puppets” in shows like “Stranger Things,” to streaming the most originally produced music documentaries, there’s no doubt Netflix’s audience is musically in tune.

Last summer Netflix hit another level with the overwhelming success of “KPop Demon Hunters.” The animated movie, featuring fictional K-pop idols who fight the forces of evil, has become the most streamed Netflix movie with more than 480 million views since its release in June. But its success wasn’t limited to the viewership.

The soundtrack, full of punchy K-pop melodies and inescapable earworms, is the first to top the Billboard charts since 2022, when Disney’s “Encanto” created a similar frenzy. Huntr/x is also up for five Grammys at the awards ceremony Sunday.

The breakout single, “Golden,” which spent eight weeks at No. 1 on the Billboard Hot 100, is nominated for song of the year, the first time a Netflix production has been nominated in one of the Grammys’ big four categories.

Music and movies always have enjoyed a symbiotic relationship. Think of classic tunes like “Over the Rainbow” in “The Wizard of Oz” and “My Heart Will Go On” in “Titanic” that became generational hits.

Now, Netflix and other global streaming platforms have taken the synergy to another level, creating new opportunities for recording artists to showcase their music.

“All of a sudden, people are discovering music they didn’t know before,” said Ian Eisendrath, the “KPop Demon Hunters” music supervisor. “I think that people got hooked on the film, which hooked them on the soundtrack, which led to the discovery of other music.”

Eisendrath said the movie, produced by Culver City-based Sony Pictures Animation, was not expected to be “a slam dunk commercial success. It was a risk.”

Though geared toward children, the movie drew a vast audience of all ages.

“It hit all kinds of angles, the music, the story, the characters, the visuals — [Netflix] was very interested in a film that would have wide-ranging appeal to all the quadrants of movie watchers,” Eisendrath said.

In the streaming era, music supervisors like Eisendrath play an increasingly important role in the success of projects like “KPop Demon Hunters,” said Robert Fink, the chair of music industry programs at UCLA’s Herb Alpert School of Music.

He said over the last 10 years, the role has become about more than just finding a song to match a scene.

“They nurture artists in the way that record labels used to do,” Fink said. “They have artists that nobody knows about, or can get some people to write songs for [the project], which might then become a way that those artists and those songs become successful in the industry.”

The singing voices behind Huntr/x aren’t those of the lead actors. They belong to rising musicians Ejae, Audrey Nuna and Rei Ami. Ejae has written songs for major K-pop groups like Twice, Le Sserafim and Red Velvet, while Nuna and Ami have experience as solo artists.

Though they weren’t a group before the film, they have since performed together on the “The Tonight Show Starring Jimmy Fallon,” “Saturday Night Live” and in the Macy’s Thanksgiving Day Parade.

The soundtrack earned global appeal, with more than two thirds of its streams originating from outside the U.S., according to data from entertainment industry analytics firm Luminate. “Golden” scored a record 20 weeks at No. 1 on the Billboard Global charts. The popularity of the movie and its music helped boost music consumption on a global scale.

“KPop Demon Hunters” already is faring well this awards season: It won two Golden Globes and received two Oscar nominations for best animated feature and original song.

Justin Kamps, the music supervisor on “Bridgerton,” noticed a similar trend when new seasons of the Regency-era romance series drop. The period piece is famous for playing quaint orchestral covers of contemporary pop artists such as Billie Eilish, Pitbull and BTS. Its latest season is set to feature covers of Third Eye Blind, Coldplay and Usher.

According to Spotify, both the Vitamin String Quartet, the group behind the covers, and the original artists’ songs, like Eilish’s “Happier Than Ever” and BTS’ “Dynamite,” experienced spikes in listening after the show’s release.

“Music and streaming has grown together. It’s great for artists, because the moment that a song is featured in a project, it could be an incredible boost to their streaming numbers and get them discovered,” Kamps said.

Perhaps one of the most memorable examples of this dynamic happened in 2022, when “Stranger Things” featured Bush’s “Running Up That Hill.” Overnight, everything changed for both Bush and Netflix.

Nora Felder, the show’s music supervisor, called the moment “the perfect storm.”

“It exploded through the stratosphere. We didn’t expect that. We were focused on looking for something that told the narrative. It felt like it had been bigger than ever before,” Felder said.

“Running Up That Hill” received roughly 22,000 daily streams on average before it was featured in the show, according to Luminate. Following its star turn, the song it peaked at 5.1 million streams in a single day — nearly 40 years after its release. It entered the Billboard Hot 100 for the first time and hit 1 billion streams in 2022. The track then spawned viral trends on TikTok and pulled the ‘80s star into contemporary pop culture.

Throughout its five-season rollout, “Stranger Things” continued to influence what viewers were listening to. Felder said the draw of its soundtrack is a mix of nostalgia for older viewers who might have grown up in the ‘80s (the era in which the show is set) and an introduction to a new sonic world for younger listeners. According to Luminate, 28% of Gen Z discovers music through series that are exclusive to streaming.

When Felder works with other studios, she said music can feel like a “last consideration” or like “there wasn’t enough money being put in the music budget.” But with Netflix, music seems to be a priority, as she’s been able to license tracks from David Bowie and Fleetwood Mac and two Prince songs (which played in the “Stranger Things” series finale).

“Netflix is very careful, and for some projects, music is more of a main character than others,” Felder said. “I do feel like Netflix especially has been very careful to try and apply the budget accordingly and take a look at projects and [realize] that music could really be an added force.”

Netflix’s musicality will be put to the test during Sunday’s Grammys broadcast, as the girls of Huntr/x face off with Lady Gaga, Sabrina Carpenter, Kendrick Lamar and SZA, as well as Bad Bunny, Bruno Mars and Rosé. The Grammys will air live from the Crypto.com Arena on CBS and Paramount+.

Four decommissioned U.S. Navy Avenger class mine countermeasures ships have left Bahrain on what may be their final voyage aboard a larger heavy lift vessel. Avengers had been forward-deployed to the Middle Eastern nation for years, where critical mine countermeasures duties have now passed to Independence class Littoral Combat Ships (LCS).

The public affairs office for U.S. Naval Forces Central Command (NAVCENT) and U.S. 5th Fleet first released pictures of the M/V Seaway Hawk, a contracted semi-submersible heavy lift vessel, carrying the former Avenger class ships USS Devastator, USS Dextrous, USS Gladiator, and USS Sentry last Friday. The Navy released more images and a brief statement yesterday. The date stamps on the pictures show the Avengers were physically loaded onto the Seaway Hawk in Bahrain on January 9.

The Navy acquired 14 Avenger class ships between 1987 and 1994. Four of them are still in service, all of which are forward-deployed in Japan, but are also slated for decommissioning in the coming years.

“Decommissioned Avenger class Mine Countermeasures ships were safely moved as part of ongoing U.S. Navy force transition efforts in the region,” per the statement from NAVCENT. “The movement evolution required detailed planning, coordination, and disciplined execution to ensure the safe transport of the decommissioned MCM’s.”

“Mission partners worked together to maintain operational standards, prioritize safety, and ensure accountability throughout each phase of the evolution,” the statement adds. “These efforts support continued fleet readiness and responsible transition of legacy platforms, while sustaining operational momentum and mission effectiveness across the maritime domain.”

A Navy contracting notice last year said the four decommissioned Avengers would head from Bahrain to Philadelphia, Pennsylvania. Sealift, Inc. subsequently received a contract valued at approximately $7 million for work through February of this year, according to USNI News. In addition, the Navy had said it previously intended to scrap the USS Devastator, USS Dextrous, USS Gladiator, and USS Sentry following their decommissioning. If the ships are due to be broken down, why the decision was made to return them to the United States first is unclear.

The USS Devastator was the last of the Avenger class ships in Bahrain to be decommissioned, which was marked by a ceremony last September.

“For more than three decades, USS Devastator, USS Dextrous, USS Gladiator and USS Sentry have been critical to maritime missions around the globe – defending the freedom of navigation, promoting stability and deterring and defeating efforts by adversaries to harm the innocent,” Navy Vice Adm. George Wikoff, then commander of NAVCENT and 5th Fleet, said at that time. “To all, past and present, who have served on [these ships], thank you for standing the watch, being true trailblazers in the fleet and maintaining a constant presence in our area of operations… what a proud legacy you leave in your wake.”

The 224-foot-long and 1,312-ton-displacement Avengers are designed to both hunt for and neutralize moored naval mines, as well as those sitting on the sea floor.

Each of the ships is equipped with a mine-hunting sonar and surface search radar. Each Avenger can deploy towed minesweeping gear that can mimic the acoustic and magnetic signatures of warships, causing certain types of mines to detonate prematurely. They also have remotely-operated underwater vehicles capable of cutting mooring lines and otherwise interacting with underwater objects to help with rendering mines safe, as well as finding and categorizing them in the first place.

The ships themselves have fiberglass-coated wooden hulls to reduce their own vulnerability, particularly to mines that detect targets by their magnetic signature.

The Navy has long intended to replace the Avenger class ships with LCSs configured for the mine countermeasures duties. However, delays with the LCS mine countermeasures and other mission packages, or “modules,” as well as other persistent issues with both subclasses of those ships, repeatedly delayed those plans. The LCS program had also originally envisioned it being possible to readily reconfigure the ships for different mission sets by swapping out modules. However, the Navy is now deploying LCSs in largely fixed configurations. As it stands now, the LCS mine countermeasures configuration includes towed mine-hunting sonar for the ships, Common Unmanned Surface Vehicles (CUSV) with mine-sweeping gear, and mine detection and neutralization systems carried by embarked MH-60 Sea Hawk helicopters.

CUSV®

Airborne Laser Mine Detection System (ALMDS) Video

The Navy only fielded its first two operational mine countermeasures modules, installed on the Independence class LCSs USS Santa Barbara and USS Canberra, last year. Canberra arrived in Bahrain in May 2025. At that time, Santa Barbara, as well as the Independence class USS Tulsa and another ship to be named, were slated to comprise the inaugural rotational deployment of mine countermeasures-configured LCSs in the region. The USS Canberra notably sailed together with the M/V Seaway Hawk for a time after it departed Bahrain with the decommissioned Avengers.

Questions and criticism about the suitability of metal-hulled LCSs to take on the mine countermeasures mission have come up in the past. Both subclasses of LCS are also much larger than the Avenger class design, which could impose limits on how close they can get to mined or potentially mined areas. LCSs are better able to defend themselves against other threats than the Avengers, but they still have relatively limited firepower, which has been a separate source of criticism for years now. There would still be a significant need for tertiary support to protect LCSs during mine-clearing operations, which are slow and complex, and carry significant risks, even in benign environments.

The continued critical importance of naval mine-clearing capacity in the Middle East is underscored now by a new surge in geopolitical friction between the United States and Iran. The regime in Iran regularly threatens to blockade the highly strategic Strait of Hormuz in response to foreign attacks, especially ones that could present an existential danger to the regime in Tehran. The Strait of Hormuz links the Persian Gulf and the Arabian Sea, and is a huge chokepoint for oil and natural gas exports from the Middle East to other countries globally. Naval mining would be central to any blockade, but Iran’s capacity and willingness to launch such an operation, which would have worldwide ramifications, is an open question. TWZ previously explored this issue in depth following the start of the 12 Day War between Iran and Israel last year.

If the Navy has to launch its own mine-clearing operations in and around the Persian Gulf for any reason going forward, LCSs will be front and center now that the Avenger class ships have left the region.

Contact the author: joe@twz.com