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제 31 호 Grammy’s New Asian Pop Category: A Step Toward Diversity or a New Divide?

Kicker: ENTERTAINMENT Grammy’s New Asian Pop Category: A Step Toward Diversity or a New Divide? by Sumin Lee , Reporter minnida_@naver.com As K-pop, J-pop and other forms of Asian pop music continue to expand their influence across the global music industry, Asian artists are no longer viewed merely as newcomers to the international scene. From dominating global charts to attracting millions of listeners worldwide, Asian pop has become a powerful force in shaping contemporary music and popular culture. Reflecting this rapid growth, the Recording Academy announced a new ‘Best Asian Pop Music Performance’ category, which will debut at the 2027 Grammy Awards and recognize pop performances originating from or widely recognized within Asian markets, including K-pop, J-pop and C-pop. However, what was initially presented as a step toward greater recognition has sparked an unexpected debate over whether such a category celebrates Asian music or separates it from the mainstream. Critics argue that grouping artists by region and language could create another boundary between Asian performers and the broader global music industry. The controversy intensified when BTS announced that they would not submit their music for the 2027 Grammys, expressing a preference for music to be appreciated beyond regional or linguistic divisions. As the Grammys attempts to reflect the changing landscape of global music, the new category raises a fundamental question: Does creating a separate stage for Asian music promote diversity, or does it unintentionally reinforce the boundaries that diversity is meant to overcome? Image of The Official Poster For the 90TH Grammy Awards The Controversy Surronding the Grammy’s New Asian Pop Category The introduction of the new category can first be understood as the Recording Academy’s response to the growing influence of Asian pop music. As K-pop, J-pop and C-pop continue to gain international audiences, Asian artists have played an increasingly important role in shaping the global music market. Supporters of the new category argue that it could give artists greater visibility and recognize musical achievements that may have been overlooked in major international awards. From this perspective, the category is not intended to limit Asian artists, but to acknowledge the cultural and musical diversity that already exists within the global music industry. However, the category has also raised concerns about whether recognition through a separate award could create another form of division. Critics argue that categorizing music according to region or language may unintentionally suggest that Asian pop belongs outside the mainstream. Instead of helping artists compete equally across the global music industry, the category could reinforce the idea that Asian music needs its own space to be recognized. This concern is particularly relevant at a time when Asian artists are already achieving global success and competing with artists from different backgrounds on international charts. Image of BTS’s Statement of DecisionNot to Participate in The Grammy Awards BTS and the New Grammy Category BTS’s current position has also drawn attention to this debate. The group has announced that it will not submit music for the 2027 Grammys, expressing a preference for its music to be appreciated beyond regional or linguistic boundaries. This decision can be viewed as part of the broader discussion rather than simply an opposition to recognition for Asian artists. While the new category may provide valuable opportunities for Asian musicians, BTS’s stance highlights the importance of considering whether recognition should come through a separate category or through greater inclusion in existing major categories. Ultimately, the debate is closely connected to the meaning of cultural diversity. Diversity does not necessarily mean placing different cultures into separate categories; it can also mean creating an environment where different cultural backgrounds can compete, collaborate and be recognized on equal terms. The new Grammy category may therefore be both an opportunity for greater representation and a reminder of the boundaries that still exist within the global music industry. Rather than viewing the issue simply as a choice between support and opposition, the controversy invites us to consider how international music awards can celebrate cultural differences while ensuring that those differences do not become barriers to equal recognition. The introduction of the ‘Best Asian Pop Music Performance’ category is meaningful in that it formally recognizes the growing influence of Asian music in the global music industry. At the same time, the controversy shows that cultural diversity cannot be fully achieved simply by placing different cultures in separate categories. For diversity to have a deeper meaning, Asian artists should also have the opportunity to be evaluated equally in the Grammys’ major categories, regardless of their region, language or cultural background. The debate surrounding the new category therefore goes beyond a single award and raises a broader question about how global music awards should define inclusion. In the end, perhaps the most important question is this: Does diversity require greater separation, or does it require equal opportunities for everyone to be recognized on the same stage? SOURCES: https://www.chosun.com/culture-life/culture_general/2026/06/18/G4CL6IPZLBENDDTKSDWEMPNL7U/ https://www.chosun.com/entertainments/music/2026/07/31/GJTGIYJSGNSWEZRSGBSTEMLBMQ/ https://www.dailian.co.kr/news/view/1656745/BTS-%EA%B7%B8%EB%9E%98%EB%AF%B8-%EC%88%98%EC%83%81-%EA%B0%80%EB%8A%A5%EC%84%B1-%EC%BB%A4%EC%A7%80%EB%82%98%EC%95%84%EC%8B%9C-2026 https://share.google/wIaJo3ZcwwKP3ZKGw https://share.google/BRXM23Xyec9bf6Zlc

• 작성일 2026-09-20
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제 31 호 FANOMENON: When Fandom Becomes a K-Culture Platform

Kicker: ENTERTAINMENT FANOMENON: When Fandom Becomes a K-Culture Platform By Sol-Mi Lim, Editor-in-chief imsolver4@gmail.com As K-pop continues to expand globally, fans are no longer simply audiences who watch performances or purchase albums. Through social media, online communities, and fan-led activities, they now play an active role in spreading content, creating trends, and shaping the influence of Korean popular culture. This changing role of fandom is reflected in the concept of “FANOMENON,” which combines fans with the idea of a cultural phenomenon and seeks to connect K-pop with areas such as fashion, beauty, food, and tourism. Unlike traditional concerts or award shows that mainly place artists at the center, FANOMENON highlights fans themselves as participants who contribute to the production and circulation of culture. At the same time, turning fandom into an economic and cultural platform also raises questions about commercialization, including expensive admission fees, pressure to purchase merchandise, and the possibility that fans’ voluntary activities could be treated mainly as sources of profit. As fandom becomes increasingly influential in the global growth of K-culture, the challenge will be finding a balance between expanding its cultural and economic value and respecting fans as active participants rather than simply consumers. A Festival Built Around Fans FANOMENON is scheduled to debut from Dec. 2 to 12, 2027, with events planned at Seoul Arena and KINTEX. The project was announced as a large-scale K-culture festival that places fandom at the center rather than treating fans only as an audience. One of its most distinctive ideas is a fandom-centered awards program. Organizers have announced plans to recognize 10 fandoms that show notable passion and influence, with artists receiving awards on behalf of their fans. This approach reflects how much the role of fans has changed in the K-pop industry. Fans translate videos, create online communities, organize projects, promote songs, and spread trends across borders. Their activities often help artists reach audiences that traditional promotion alone could not. FANOMENON attempts to give this influence a formal place within the industry by treating fandom itself as a cultural force. The event is also designed to go beyond music. Programs are expected to include Korean food, beauty, fashion, games, webtoons, films, television programs, and animation. This makes FANOMENON different from a typical concert or awards show. Rather than focusing only on performances, it aims to create a space where different areas of K-culture can meet through fandom. If successful, the festival could become a place where fans experience not only their favorite artists but also the broader culture connected to them. Expected atmosphere image of the fanomenon event From K-pop to K-Culture Tourism FANOMENON also reflects a larger change in the Korean Wave. In the past, Korean cultural content was mainly exported through albums, dramas, films, and overseas concerts. Today, the goal is increasingly to encourage international fans to visit Korea and experience K-culture directly. Organizers expect the 11-day event to attract about 520,000 visitors, including around 200,000 international visitors. They also project an economic effect of more than 1 trillion won. These figures are expectations rather than guaranteed results, but they show that FANOMENON is being developed as both an entertainment event and a tourism project. A fan who travels to Korea for a concert may also spend money on hotels, transportation, food, shopping, beauty products, and tourist attractions. This means that the economic value of K-pop can extend far beyond album sales and concert tickets. Recent government analysis has also shown that global interest in Korean culture is expanding from music to areas such as food, tourism, film, and consumer products. FANOMENON tries to bring these different areas together in one event. A visitor may come for a K-pop performance but discover Korean fashion, beauty, webtoons, or food at the same time. In this way, fandom becomes a bridge connecting entertainment with other industries. There are also plans to expand the concept overseas. A FANOMENON Festival is planned for Los Angeles in May 2028, and organizers have suggested further international expansion. This could help the festival develop into a recognizable global K-culture brand. However, that will depend on whether FANOMENON can create an identity of its own rather than simply relying on the popularity of famous artists. When Fandom Becomes a Business The biggest question surrounding FANOMENON is whether a festival created to celebrate fans can avoid treating them mainly as consumers. K-pop fandom already involves significant spending on albums, merchandise, concerts, fan meetings, and paid online platforms. Large-scale festivals can provide exciting new experiences, but they can also increase financial pressure on fans. This issue becomes more important because FANOMENON plans to evaluate and reward fandom influence. Streaming numbers, social media activity, album purchases, and voting can all be used to measure participation, but they can also create competition. If fandom power becomes closely connected to spending or numerical performance, fans with more money or time may have greater influence than others. Research on K-pop merchandise has also shown that scarcity and perceptions of unfairness can affect fans’ attitudes and purchasing behavior. Limited products and exclusive experiences may increase excitement, but they can also make fans feel pressured. FANOMENON will face the same challenge when ticket prices, merchandise, and premium programs are eventually announced. The event should therefore offer forms of participation that are not based only on spending. Fan-created exhibitions, community programs, online participation, cultural exchange spaces, and activities involving smaller fandoms could help make the festival more inclusive. It will also be important to avoid focusing only on the largest entertainment companies and the most commercially powerful fan communities. FANOMENON has the potential to become a unique K-culture festival by connecting music, tourism, food, beauty, fashion, and other industries through fandom. Its greatest strength is the idea that fans are not simply consumers but active participants who helped spread K-pop around the world. However, the festival’s success will depend on whether this idea remains visible once commercial interests become involved. If fans are valued mainly through ticket sales, merchandise purchases, rankings, and streaming numbers, FANOMENON may become just another large entertainment event. If it gives fans meaningful ways to participate, communicate, and share culture, it could become a new model for the next stage of Hallyu. A festival built around fandom should ultimately be judged not only by how many people attend or how much money it generates, but by whether fans truly feel that they are part of the phenomenon. Sources: https://www.korea.kr/news/policyNewsView.do?newsId=148969232&pWise https://www.koreatimes.co.kr/entertainment/k-pop/20260729/can-k-pop-convince-fans-to-travel-to-korea-every-year www.bigdata-culture.kr

• 작성일 2026-09-20
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제 30 호 K-Royal Culture Festival 2026: Spring

Kicker: ENTERTAINMENT K-Royal Culture Festival 2026: Spring by Sumin LEE, Reporter minnida_@naver.com As you walk through the heart of Seoul, the beauty of Korea’s royal palaces from the Joseon Dynasty — proud symbols of the nation’s 5,000-year history — continues to captivate not only foreign tourists but also countless Koreans. There is a festival that makes these beloved palaces shine even brighter: Royal Culture Festival. Hosted annually by the Korea Heritage Service since 2014, this festival successfully concluded this year after achieving a remarkable milestone of recording its largest number of visitors ever. This article, we will introduce when and how people can enjoy the festival, as well as explore the reasons why it was able to attract an even greater number of visitors this year. The Royal Culture Festival is Korea’s representative cultural heritage festival held across Seoul’s five royal palaces—Gyeongbokgung, Changdeokgung, Changgyeonggung, Deoksugung, and Gyeonghuigung—as well as Jongmyo Shrine, all of which preserve the history of the Joseon Dynasty and the Korean Empire. Hosted by the Korea Heritage Service and organized by the Korea Heritage Agency, the festival goes beyond simple palace sightseeing and allows both domestic and international visitors to experience the origins of K-culture more closely, transforming these historical spaces into stages for arts and culture. Held regularly in spring and autumn, the festival offers performances, exhibitions, hands-on experiences, and reenactments of royal rituals that reflect the unique characteristics of each palace’s halls and historical significance, helping visitors gain a deeper understanding of Korean history through immersive experiences. History and Current Status of the Royal Culture Festival The Royal Culture Festival first began in September 2014 with around 160,000 visitors. By continuously strengthening and diversifying its programs, the festival attracted a total of 1.39 million visitors in 2025. This year, the spring festival alone welcomed 720,000 visitors, exceeding last year’s attendance by more than 100,000 and continuing its successful growth. Following last year’s efforts, the festival has also expanded programs targeting foreign visitors and is aiming to attract 1.65 million participants in total. One of the key reasons behind this year’s great success was the decision to open the opening ceremony seats to foreign visitors for the first time and sell dedicated tickets for them, which received enthusiastic responses from global audiences. Major reservation-based programs such as “Awakening the Morning Palace” at Changdeokgung Palace and “The Emperor’s Dining Table” at Deoksugung Palace also gained tremendous popularity, with every session selling out early. The 2026 Royal Culture Festival introduced many new programs and experiences that allowed visitors to actively participate in activities across the five palaces and Jongmyo Shrine. Experiences Visitors Could Enjoy at the 2026 Spring Royal Culture Festival The 2026 Spring Royal Culture Festival offered visitors a wide range of hands-on cultural experiences, performances, exhibitions, and royal reenactment programs across Seoul’s five royal palaces and Jongmyo Shrine. Rather than simply viewing historical sites, visitors were able to actively experience Korea’s royal culture and history in immersive and engaging ways. At Changgyeonggung Palace, a new program titled “Yeongchunheon: The Library of Spring” allowed visitors not only to observe the historical space but also to relax and work while enjoying traditional royal tea inside the palace hall itself. Another popular program, “The Queen’s Taste,” guided participants through a personality test under the supervision of a professional perfumer. Based on the results, participants are allowed to take part in a personality-based fragrance workshop using traditional Korean ingredients such as plum blossom, sandalwood, and ink scent to create their own scented sachets. In addition, “Moonlight Lotus Show at Changgyeonggung Palace” that visitors can follow the lights through the palace at night and enjoy its many beautiful sights. At Gyeongbokgung Palace, visitors could experience “Time Travel: Gyeongbokgung Palace: Royal Palace Daily Life” which recreated a day in the palace through the footsteps of various historical figures. Another immersive program, “Time Travel: Gyeongbokgung Palace:Newcomers of Royal Palace” allowed participants to become trainee palace attendants from the Joseon Dynasty by wearing traditional royal attire and learning palace arts and etiquette. “Springtime Blossom of the young King at Saenggwabang” themed as a warm banquet prepared for King Danjong, offered traditional royal cuisine and desserts named dasik inside Gyeongbokgung’s royal kitchen area. In addition, the “Gyeonghoeru Outing” program allowed visitors to enjoy the sounds of traditional music performed by royal court musicians while experiencing traditional costumes, pansori performances, and royal tea and refreshments in a peaceful Gyeonghoeru Pavilion. At Changdeokgung Palace, the reservation-only “Moonlight Tour of Changdeokgung” offered daegeum solo performances, royal court dances, and guided tours of the palace grounds, allowing visitors to experience the beauty of the palace at night. Another program, “The Dance of Crow Prince Hyomyeong and the Moon” recreated the royal banquet culture envisioned by Crown Prince Hyomyeong, who dreamed of becoming a cultured ruler through politics based on music and arts. Participants could directly select and research traditional costumes while experiencing the royal performance process of the time. It allows participants to experience royal ceremony, or jinjakrye by learning about traditional costumes and court performances inspired by Crown Prince Hyomyeong’s artistic vision. “Awakening the Morning Palace,” another reservation-based program, gave visitors the chance to peacefully walk through Changdeokgung in the early morning while listening to explanations about the palace’s architecture and history. At Deoksugung Palace, “The Emperor’s Dining Table” took place at Jungmyeongjeon hall, where visitors experienced the turbulent history and diplomatic moments of the Korean Empire while enjoying Western-style banquets and traditional Korean cuisine. At Junggwanheon Pavilion, “Royal Recreations Club” took placed so that visitors could experience Emperor Gojong’s hobbies and leisure activities through programs such as imperial billiards and demonstrations and tastings of yangtangguk(traditional coffee). “Seokjojeon at Night” allowed participants to hear stories about the imperial family of the Korean Empire from guides while enjoying coffee, desserts, and musical performances on the terrace of Seokjojeon Hall. At Gyeonghuigung Palace, visitors could participate in stamp tours and traditional street performances such as lion dances, tightrope walking, and samulnori, which were also held at other palaces. At Jongmyo Shrine, “Myohyeon: The Queen’s Record” combined ritual reenactments and musical theater based on Queen Inwon’s Myohyeonrye ceremony at Yeongnyeongjeon Hall. Visitors could also directly experience traditional royal costumes through the “Jongmyo Myohyeonrye” program. Additionally, the reservation-only “Ancestral Ritual Music Nighttime Performance at Jongmyo Shrine” presented the harmony of music, dance, and ceremonial order in the darkness of Jongmyo Shrine, offering visitors a rare opportunity to experience the beauty of Jongmyo at night, as the shrine is not usually open after dark. Another program, Jongmyo Daeje(rite) performed to honor the kings and queens of the Joseon Dynasty. Overall, the 2026 Spring Royal Culture Festival provided visitors with opportunities to experience Korean royal heritage not only through observation but also through participation, making Korea’s traditional culture feel more vivid, immersive, and accessible to both Koreans and international visitors. The autumn Royal Culture Festival will take place from October 7 to October 11 under the theme “The Spatial Aesthetics of Joseon and the Gyujanggak Academy.” University students can enter free of charge, and by reserving activities such as stamp tours and various hands-on programs in advance, they will be able to deepen their understanding of palace spaces and Korean history through direct experiences. The Significance of The Royal Culture Festival The Royal Culture Festival carries great significance as Korea’s representative cultural heritage festival by allowing people to experience royal palaces not simply as historical landmarks, but as living cultural spaces filled with history, art, and tradition. Through various performances, exhibitions, reenactments, and hands-on activities held across the five royal palaces and Jongmyo Shrine, the festival helps visitors understand Korean history in a more immersive and meaningful way. One of the festival’s most important meanings is that it makes Korea’s cultural heritage more accessible and approachable to the public. Rather than limiting palaces to spaces for quiet observation, the festival transforms them into interactive cultural stages where visitors can directly participate in royal traditions, traditional arts, and historical experiences. This allows people to feel a closer emotional connection to Korea’s historical heritage. The festival also plays an important role in preserving and promoting traditional Korean culture. By recreating royal rituals, court music, palace cuisine, and traditional performances in historically significant spaces, the event helps keep these cultural traditions alive for younger generations and international audiences alike. It creates opportunities for people to appreciate the beauty and value of Korean heritage in modern society. In addition, the Royal Culture Festival contributes to the global promotion of K-culture. As international interest in Korean culture continues to grow, the festival introduces foreign visitors to the historical roots of modern Korean culture through elegant and immersive experiences. By combining traditional heritage with modern cultural content, the festival strengthens Korea’s cultural image and showcases the country’s artistic and historical identity to the world. Ultimately, the Royal Culture Festival is meaningful because it not only preserves Korea’s history and traditions but also allows people to actively experience, share, and continue them in the present day. Through the festival, both Koreans and international visitors can develop a deeper understanding of Korean culture while building pride and appreciation for the nation’s rich cultural heritage. In addition to the Royal Culture Festival, Korea also preserves and promotes its history through various other traditional festivals, such as the Joseon Royal Tombs Festival, which features night walks, traditional performances, and guided programs set around royal tombs; the Jeonju Cultural Heritage Night Festival, where the entire Jeonju Hanok Village transforms into a traditional cultural space at night; the Suwon Hwaseong Fortress Cultural Festival, famous for reenacting King Jeongjo’s royal procession; the Andong International Mask Dance Festival, where visitors can experience mask dance performances, traditional games, hanok(Korean International house) architecture, and Confucian culture: and the Seoul Lantern Festival, which reinterprets Korean traditions in a modern way. By experiencing these festivals, Koreans can better understand their history and take pride in their cultural heritage. The Royal Culture Festival also recruits volunteers called “Goong-ee Doone-ee Volunteers” every year. If you would like to participate in meaningful activities and meet diverse people, applying to become a volunteer for the autumn Royal Culture Festival could be a wonderful way to enjoy the festival even more meaningfully. SOURCES: https://www.kh.or.kr/fest https://news.kbs.co.kr/news/pc/view/view.do?ncd=8554960 https://www.instagram.com/royalculturefestival_official/ https://www.cha.go.kr/cop/bbs/selectBoardArticle.do?nttId=93189&bbsId=BBSMSTR_1250&pageIndex=1&pageUnit=10&searchCnd=&searchWrd=&ctgryLrcls=&ctgryMdcls=&ctgrySmcls=&ntcStartDt=&ntcEndDt=&searchUseYn=&mn=NS_01_28 https://zdnet.co.kr/view/?no=20260429175356

• 작성일 2026-06-08
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제 30 호 A New Era of the World Cup: Expanded Format, Rule Changes, and Korea’s Road Ahead

Kicker: ENTERTAINMENT A New Era of the World Cup: Expanded Format, Rule Changes, and Korea’s Road Ahead By Hae-in Noh, Reporter xhazmfnwm1@gmail.com The 2026 FIFA World Cup is set to kick off on June 11, drawing global attention as the biggest tournament in World Cup history. Tournament will grow from 32 to 48 teams, giving more nations a chance to play on football’s biggest stage and raising interest among fans around world. The event will also introduce a new group-stage system and updated match rules, marking major shift in global football. Under the new format, 48 teams are to compete in 12 groups, with top teams and best third-place finishers moving to the knockout stage, creating more matches and stronger competition. Fans expect fierce battles among football powers and rising nations, while the South Korean team starts their challenge for success on the biggest stage. Major changes are likely to reshape fan experiences and open new paths for teams in global competition. Bigger Tournament Opens New Chance The tournament will grow from 32 to 48 teams, giving more nations a chance to reach football’s biggest stage. This new system will now place 48 teams into 12 groups of four, sending top two sides and best third-place finishers to the knockout round. More matches are likely to raise fan interest, draw larger crowds, increase global attention. New change also opens the door for smaller football nations, gives rising teams chance to face world powers, gain experience on a global stage. Experts expect wider competition, stronger regional growth, greater chances for new stories during the tournament. Fans around world now watch not only famous teams, but also new countries chasing their dreams on biggest football event. New Rules Aim to Protect Players, Improve Fair Play The new tournament format is also to bring rule changes shaping match experience. Hydration Break system will help players deal with hot weather, lower health risk during summer games, and protect fitness during long matches. Semi-automated offside systems are to support faster calls, reduce mistakes, and improve fair play with new technology. Longer added time also will reflect real game flow, stop time wasting, and give players fair chance during final minutes. Officials expect new rules to improve player safety, match quality, game speed, and the fan experience. Technology now plays larger role in football, helping referees make faster and more correct decisions. Strong Teams Chase Title, South Korea Eyes Next Round Traditional football powers such as Argentina, France, Brazil, England enter the tournament as strong title contenders, bringing top players, deep experience, strong records. Fans expect fierce battles among football powers, close matches during knockout stage, and new stars rising under global spotlight. South Korea also starts new challenge, with hopes to move beyond group stage, aiming for a place in the Round of 16. The team is to open their campaign against Czechia on June 12 in Guadalajara, face Mexico on June 19, meet South Africa on June 25 during the group stage. Group results likely to shape path ahead, affect chance for success, and create different levels of pressure. Korean fans now watch the team with high hopes, expecting stronger performance on bigger stage, and dream of another memorable World Cup run. The 2026 FIFA World Cup will mark more than just a major sports event, showing a change in global football and opening the door to a new era. A bigger tournament, new match systems, stronger player protection, and wider use of technology will show how football continues to change in modern sports. More nations will gain the chance to compete, while fans will enjoy faster, fairer, and more exciting matches. The tournament will also test how football grows under new rules and a larger global stage. South Korea will enter this new era with new hope, face stronger rivals, and chase another chance to create a memorable moment on the world stage. Sources: (https://www.fifa.com/en/tournaments/mens/worldcup/canadamexicousa2026/articles/groups-how-teams-qualify-tie-breakers) (https://www.fifa.com/ko/articles/world-cup-2026-official-brand-unveiled-canada-mexico-usa-celebration-football-diversity-ko) (https://inside.fifa.com/innovation/innovating-the-game/semi-automated-offside-technology ) (https://www.fifa.com/en/tournaments/mens/worldcup/canadamexicousa2026/articles/match-schedule-fixtures-results-teams-stadiums?os=bingquiz.combing-disney-quiz&utm) (https://football-technology.fifa.com/innovation/standards/virtual-offside-lines/saot-testing-criteria)

• 작성일 2026-06-02
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제 29 호 National Museum of Korea Turns Pink in Collaboration with BLACKPINK

Kicker: ENTERTAINMENT National Museum of Korea Turns Pink in Collaboration with BLACKPINK :National Museum of Korea X BLACKPINK By Leesoi, Reporter Leesoi3157@naver.com (YG entertainment) Blackpink, one of K-pop’s leading girl groups,collaborated with the National Museum of Korea to commemorate the release of their thirdmini album, DEADLINE. The album comes three years and five months after their previous release.(show on album). It consists of five tracks, each highlighting a distinct musical style including “GO”, “Me and My”, “Champion”, “Fxxxboy” and the pre-released single “JUMP”, which was released in July. The album has generated significant anticipation among listeners with its impressive lineup, featuring longtime producer Teddy, returning composers, and new collaborators such as Chris Martin of Coldplay, rising composer and vocalist EJAE from K-Pop Demon Hunters, and hitmaker Cirkut. This National Museum of Korea (NMK) X Blackpink collaboration project is an event held to commemorate the release of Blackpink's album and showcases the cultural power of Blackpink as the first K-pop artist to collaborate with the NMK. With this plan, NMK has become a culture space connecting Koreans and international visitors. Picture 2:inside of the museum.photo by author A pink transformation of the museum Throughout the “Pink lighting” event period, the NMK's exterior and parts of its interior have been dyed in Blackpink's signature pink color, blooming flowers on the museum. Although the author visited during the day so could not see the night scenery, the day was also very beautiful. The National Museum of Korea is the 13th largest museum in the world and achieved 6th place globally in terms of number of visitors.Walking through the spacious exhibition hall, visitors could easily sense the excitement surrounding the collaboration. Fans took photos near displays connected to the album and many visitors, initially interested in the Blackpink exhibition but drawn by the museum's unique theme, found their way to the entire museum. For many visitors, the experience felt different from a typical museum visit. The presence of contemporary music elements, fan engagement, and interactive features created a more dynamic atmosphere than what is usually expected in traditional exhibition spaces. This combination of modern pop culture and museum space allowed visitors to experience culture from a broader perspective. It demonstrated that museums can evolve and experiment with new ways of presenting cultural experiences to the public. Picture 3: photo by author The effect of collaboration with K-pop Now, K-pop is not only just Korea[FMB1] culture but also global culture brand with a powerful influence on audiences worldwide. The collaboration demonstrated how cultural institutions can engage younger audiences by connecting traditional heritage with contemporary global culture. At the center of the exhibition, visitors can experience a special audio guide service available in English, Korean, and Thai. Through this service, visitors listen to audio guides recorded by BLACKPINK members Jennie, Jisoo, Lisa, and Rosé. Their voices guide visitors through the exhibition, creating a unique experience that blends popular music with the museum environment. By incorporating the voices of globally recognized artists, the exhibition offered fans a new way to interact with both K-pop and Korean cultural spaces. This approach helped make the museum feel more accessible and engaging, especially for younger audiences and international visitors who may not usually visit traditional cultural institutions. For visitors interested in exploring Korean culture, museums remain one of the most accessible and rewarding places to begin that journey. Although the exhibition has already concluded by the time this article is published, it highlights the many opportunities to experience Korea’s cultural beauty through exhibitions held across the country. It reminds visitors that museums remain one of the best places to discover the depth and beauty of Korean culture. On the other hand, From March 16th, the time was changed from 9 AM to 5:30 PM to improve the convenience of visitors. Sources: https://www.museum.go.kr/MUSEUM/contents/M0701040000.do?schM=view&catCustomType=post&catId=93&arcId=23422&cp=1 https://www.ygfamily.com/ko/artists/blackpink/discography/1652

• 작성일 2026-03-19
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제 29 호 At a Crossroads: The Future of Korean Cinema

Kicker: ENTERTAINMENT At a Crossroads: The Future of Korean Cinema by Sumin Lee , Editor minnida_@naver.com In 2026, movie theaters across Korea are once again bustling with audiences. Have you recently watched any of the diverse Korean films currently showing in cinemas? Director Kim Do-young’s Once We Were Us, which opened the year, has received immense love since the New Year and became the first melodrama in seven years to surpass two million viewers domestically. Meanwhile, director Jang Hang-jun’s The King’s Warden(The Man Who Lives with the King) has exceeded eight million admissions, raising expectations that it may become the first film in two years to reach the ten-million mark—an achievement that had seemed increasingly rare in the Korean film industry. Although Korean cinema continues to receive positive reviews and strong public support through a series of successful releases, there are also growing concerns about the industry’s darker realities. In particular, the term “warehouse films”—referring to completed films that remain unreleased for extended periods—has emerged as a reflection of these challenges. Through this article, I aim to examine this phenomenon and gain a deeper understanding of the current state of the Korean film industry, as well as its future direction. Still Cuts from “The Kings Warden”,Korea's First film to Surpass 10 million Viewers As we welcome the new year of 2026, Korean cinema is once again capturing the attention of theatergoers. The recently released film Once We were Us (만약에우리는) has achieved box-office success through positive word-of-mouth, signaling a long-awaited return of audiences choosing local films at the cinema. This trend is fueling expectations that the theatrical market, which had been stagnant for some time, is gradually regaining its vitality. However, despite this positive atmosphere, those within the film industry evaluate that overall structural difficulties persist. A particularly frequent issue in recent years is the phenomenon of "Vaulted Films" (창고영화). These are films that have completed production but remain stored by production companies or distributors without securing a release date. Due to a combination of declining theater attendance, uncertainty in investment recovery, and fierce competition for release slots, an increasing number of produced films are failing to reach the silver screen. This situation is not merely a problem of a few unreleased movies. The film industry is a complex ecosystem comprised of production companies, investors, distributors, theaters, and countless staff and creators. When film releases decrease, recovering production capital becomes difficult, which leads to a reduction in future productions and can cause the entire industry to shrink. Furthermore, the Korean film industry is in the midst of a structural shift. The theater-going culture has not fully recovered since COVID-19, and the rise of over-the-top (OTT) services has significantly changed how audiences consume content. Added to this is the rising cost of production, including actors' fees and filming expenses, which increases the burden of film production and investment. In response to these changes, the industry is pursuing various attempts to find new distribution strategies, production methods, and points of contact with the audience. To overcome this crisis, the film industry is exploring diverse solutions, such as distribution structures that balance theaters and OTT platforms, expanding support for small-to-mid-budget films, and audience-participation screening programs. In particular, events like Guest Visits (GV), where directors and audiences communicate directly, and special screenings are evaluated as attempts to transform the theater from a simple screening room into a space for cultural experiences. This trend is not limited to the film industry but is connected to the overall state of the Korean arts scene. Various cultural and artistic sectors, including performance, music, and fine arts, are also affected by declining audiences, rising production costs, and platform shifts. As cultural consumption centered on digital content and platforms expands, traditional arts industries find themselves needing to devise new survival strategies. This situation concerns not only those working in the film industry but also society as a whole as consumers of cultural content. The younger generation, including university students, can significantly impact the film industry's ecosystem through diverse film viewing and cultural consumption. Since the film industry is a vital realm that captures culture and art beyond mere entertainment, the interest and participation of the audience will be crucial for the continuous development of Korean cinema. Ultimately, what matters amidst these changes is social interest and participation in culture and the arts. Specifically, the youth and university students, as the primary subjects who consume and share various cultural contents like films, performances, and exhibitions, can have a major influence on the artistic ecosystem. Understanding the changes and hardships the arts community is currently facing is meaningful not only for those who will work directly in culture-related fields but also for those who will not. Moving forward, the film industry must seek new growth strategies within the evolving media environment. For Korean cinema to once again establish itself as a world-class cultural powerhouse, improvements in the industrial structure must be accompanied by the interest and participation of the audience. The active cultural consumption and creative activities of the younger generation can have a positive impact on the overall Korean film and arts scene, serving as a vital foundation for a richer future for the Korean cultural industry. SOURCES: https://sports.donga.com/ent/article/all/20260101/133075726/1 https://news.tf.co.kr/read/entertain/2283217.htm https://www.yna.co.kr/view/AKR20260307045500001

• 작성일 2026-03-18
• 좋아요 Like 1

제 28 호 "Maybe Happy Ending" Marks Its 10th Anniversary With a Sold-Out Return to Seoul

Kicker: ENTERTAINMENT "Maybe Happy Ending" Marks Its 10th Anniversary With a Sold-Out Return to Seoul By Chae-yun Lee, Reporter o4nly_1@naver.com This year marks the 10th anniversary of the Korean musical Maybe Happy Ending, and the production has returned to the stage with remarkable momentum. After premiering as a tryout in 2015 and officially opening in 2016, the musical steadily built a strong reputation among Korean theater fans. Its achievements culminated last year when the show made its Broadway debut and went on to sweep six Tony Awards, a historic moment for Korean original musicals. Now, the 10th-anniversary production at Doosan Art Center’s Yonggang Hall has already sold out nearly every performance, proving that the show’s influence and emotional impact remain stronger than ever. The production runs through January, with discussions for a regional tour and potential overseas performances currently underway. Set in a near-future Seoul Metropolitan district, Maybe Happy Ending follows the quiet and fading lives of outdated helper robots known as Helperbots. Once created to assist humans in their daily lives, these robots have long since been replaced by newer models, leaving the older units abandoned in forgotten apartment complexes. The story centers on Helperbot 5, Oliver, and Helperbot 6, Claire, who meet unexpectedly while living in the same building. Oliver has remained in place for years, waiting for an owner who will likely never return, while Claire struggles with frequent malfunctions and declining performance. Their interactions reveal small but meaningful shifts in their emotional states, inviting the audience to reflect on themes of memory, connection, and what it means to care for someone—or something—in a world that no longer needs you. Rather than relying on spectacle or dramatic plot twists, the musical moves at a quiet, deliberate pace. The understated tone is one of the show’s greatest strengths, creating a world where silence and stillness carry as much emotional weight as major events. The piece carefully explores the subtleties of companionship between two beings who were never designed to feel anything at all yet begin to experience something that resembles tenderness. The creative team behind the show is the renowned Korean musical duo Will Aronson (composer) and Hue Park (book & lyrics). Prior to Maybe Happy Ending, the two collaborated on productions such as Bungee Jumping of Their Own and Il Tenore, building a partnership known for emotional clarity, musical sophistication, and intimate storytelling. Their shared aesthetic—Aronson’s lyrical melodies paired with Park’s thoughtful and warm text—has been widely praised both domestically and internationally. Their work on Maybe Happy Ending ultimately led the musical to global recognition, culminating in its Broadway run and subsequent awards season success. Visually, the production embraces a minimalist approach. Instead of elaborate sets, the show relies on light, projection, and subtle sound design to represent the inner worlds of the robots onstage. Small gestures, flickering lights, and shifts in color create a delicate atmosphere that supports the show’s emotional core. Over the past decade, this minimalistic but deeply expressive staging has become one of the musical’s signatures and a major reason for its enduring popularity. The 10th-anniversary cast lineup has also contributed to the strong anticipation surrounding the revival. In the role of Oliver, the production features Kim Jaebeom, Shin Seongmin, Jeong Hwi, and Jeon Seongwoo. The role of Claire is performed by Jeon Mido, Choi Soo-jin, Park Jiyeon, Bang Minah, and Park Jinjoo, while James is played by Ko Hunjeong, Park Sehoon, and Lee Sian. The combination of returning performers and newly joined actors has drawn significant attention from fans familiar with the show as well as new audiences discovering it for the first time. With such a wide-ranging lineup, each performance offers a slightly different nuance, adding to the appeal and rewatch value of the production. The show’s Broadway success remains one of the most notable milestones in Korean musical history. Maybe Happy Ending won six Tony Awards, including <Best Musical>, <Best Original Score>, <Best Book of a Musical>, <Best Direction of a Musical>, <Best Scenic Design of a Musical>, and <Best Sound Design of a Musical>. For a Korean original musical—not an adaptation or licensed production—to be recognized at this level is unprecedented. The accolades not only validated the work of the creative team but also signaled that Korean musicals can compete on an international stage with original stories, distinctive aesthetics, and emotional depth. The 10th-anniversary production is therefore far more than a simple revival. It reflects a decade of accumulated history—of creative experimentation, audience devotion, global expansion, and artistic recognition. With performances selling out daily and momentum building toward a possible tour, Maybe Happy Ending is positioned to begin another chapter in its journey. The musical continues to prove that a story does not need to be grand to be powerful, and that quiet emotional resonance can travel across borders just as strongly as any blockbuster spectacle.

• 작성일 2025-12-08
• 좋아요 Like 1

제 28 호 Between Innovation and Inconvenience: The National Museum of Korea's Bold Shift

Kicker: ENTERTAINMENT Between Innovation and Inconvenience: The National Museum of Korea's Bold Shift by Sumin Lee , Reporter minnida_@naver.com Have you ever seen the merchandise of the National Museum of Korea? It has become a hot topic due to items being out-of-stock or on pre-order, such as "A Thinking Buddhist image Miniature" and "Drunken Seonbi(classical scholar of Joseon) Set”. The National Museum of Korea's goods sales business, which is loved not only by guest who are living in korea but also by foreigners visiting Korea, has recently collaborated with the world-famous animated film “K-pop Demon Hunters”, attracting more attention and successfully progressing. Let's find out how the National Museum of Korea, which is receiving such positive review and is loved for leading a trend of being an open run museum, while including goods business and yet is dealing with a double-edged sword.The issue of how a tax refunded museum could begin charging entrance fees is people questioning the notion of the National Museum of Korea being a “national” museum. Above, issues can undermine the nature of national museums that allow people to experience art comfortably in museums at any time. Therefore, in this article, we need to think about what compromises or solutions there are to these issues. The National Museum of Korea The National Museum of Korea https://images.search.yahoo.com/search/images;_ylt=Awrg1aTS4B1pfQEDQXVXNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3BpdnM-?p=%EA%B5%AD%EB%A6%BD%EC%A4%91%EC%95%99%EB%B0%95%EB%AC%BC%EA%B4%80&fr2=piv-web&type=E210KR91214G0&fr=mcafee#id=67&iurl=https%3A%2F%2Fdata.si.re.kr%2Fphotos%2Ffiles%2Fimg%2F06%2F06U00506Dc20000.jpg&action=click The National Museum of Korea, which is loved not only by overseas tourists but also by the Korean people, took over the Joseon Chungdokbu(Goverment-General of Chosen) Museum in 1945. The national museum serves as a collection of artifacts for the people, interacting with countries around the world and exhibiting collaborative exhibitions with various countries to ensure the cultural life of the people. In addtion, Located in Seobinggo-ro, Yongsan-gu, Seoul, the National Museum of Korea is a modern reinterpretation of Korea's traditional architectural spirit through the natural connection such as Baesan Imsu(a mountain in the back and water in the front) and directly connecting to Yongsan Family Park, leading to an exquisite harmony between nature and artificiality. The concept of a safe and peaceful fortress between Namsan Mountain and Mirrorsnot symbolizes the tension of disconnection from the outside and while having the sense of stability of protecting us safely and peacefully. The museum resembles two walls that extend to the roof height offering practical functions by providing natural lighting can shine from the ceiling to each floor. Four Reasons The National Museum of Korea Is Beloved MU:DS(The Museum Goods) https://www.museumshop.or.kr/kor/main.do There are four main reasons why these institutions have recently become more loved. First of all, it presents a three-dimensional exhibition centered on the experience of visitors, and provides a specially designed space to focus on material appreciation and thought through space innovation. In addition, it is also contains realistic digital content that utilizes advanced technology such as the "Digital King Gwanggeato Royal Tomb Monument" and is enjoyed by young and foreign visitors to provide an experience-oriented exhibition. Second, with the influx of younger generations(Gen-Z) and the great popularity of museum goods, the museum is not only a place to study history, but also a hot place to purchase souvenirs. More people are making the visit to the gift shops purchasing unique items such as cups, a thinking Buddhist image Miniature, Drunken Seonbi(classical scolar of Joseon) set, bookmarks, and keeling. In addition, participatory cultural events, such as the recent makeup competition with relics, have been held in a novel way, which is gaining more popularity. Finally, in collaboration with K-pop Demon Hunters, a Korean animation that has recently gained worldwide popularity, anime fans as well as those who have always liked the goods of the National Museum have improved accessibility, creating trends such as museum open runs. Finally, through various but high-quality special exhibition plans and policies that operate permanent exhibitions for free, it is increasing accessibility to cultural enjoyment. A Controversy Over The National Museum of Korea The highly acclaimed National Museum of Korea has become a controversial issue. As the number of visitors to the National Museum, which has been free of charge only for permanent exhibition halls since 2008, has increased, the controversy arose Museum director Yoo Hong-joon's discussed the National Museum of Korea's fee-paying system at the National Assembly's Culture, Sports and Tourism Committee's parliamentary audit on Oct. 25 to review the reservation system and method of the museum's fee-paying in various directions. Those who favor the museum's fee-paying system argue that it can improve the viewing environment by easing excessive congestion, securing necessary resources such as preservation of facilities and cultural properties, recruitment of manpower due to the rapid increase in the number of visitors, and the efficiency of the viewing attitude can be improved through the recognition that it pays more hard to watch. Opponents argue that operating with taxes paid by the people could be a double taxation issue, that it could deprive low-income people of access to culture. They also argue that free viewing is effective in attracting foreign tourists and promoting Korean cultural heritage. Funds could be raised by promoting the development and sales of cultural products instead of chraging admission fees, and sufficiently supplementing the reasons for tolling through self-donation systems. Now that the National Museum, which is in charge of the cultural life of its people as a national institution in Korea, is receiving praise from many people for providing high-quality exhibitions and making it easier for visitors to experience through various contents, We, as university students will need more focus attention to understand these problems that can damage the nature of the museum, which is funded by us the taxpayers' money to provide various cultural lives to the people and to continue the museum's reputation as a national institution and to provide better content continuously. Sources: https://www.museum.go.kr/MUSEUM/contents/M0804010000.do https://www.khan.co.kr/article/202511080900001 https://www.yna.co.kr/view/AKR20251022138100005

• 작성일 2025-11-30
• 좋아요 Like 1

제 27 호 KPop Demon Hunters: How it Became Popular

Kicker: ENTERTAINMENT KPop Demon Hunters: How it Became Popular By Ye-Dam Hwang, Editor hwangyedam1108@naver.com Have you heard about “KPop Demon Hunters”? I think you have already seen the work, or even if you have not, you know the name and the OST(Original Sound Track). Nowadays “KPop Demon Hunters” on Netflix have been released on June 20th this year, and it became globally popular. It is an animation movie which weaves K-pop super stars and demon hunters, known as the “HUNTRIX” who are a K-pop girl group while also secretly work as demon hunters who fight against the demons. The songs of the movie are covered by many popular singers and people have made parodies of some scenes of it on SNS (Social Networking Service) and YouTube. Then why and how has it became so popular? Thus, because it became globally famous with Kpop music, I will tell you about “KPop Demon Hunters” in detail and analyze why people are so enthusiastic about it. What “Kpop Demon Hunters” is “Kpop Demon Hunters” is a Netflix original American animated film directed by Maggie Kang and Chris Appelhans that was released on June 20th, 2025. As its title suggests, it is the first overseas animated film based on Korean K-pop idols and the first musical animation in history to use K-pop music. “Kpop Demon Hunters”describes the story thatRumi, Mira, and Zoey, who are the members of a K-pop girl groupHuntrix during the day and who secretly act as exorcists at night, battling the Saja Boyswho are K-pop boy groups during the day, but become evil spirits at night threatening humanity. Huntrix is based on shaman and Saja Boys is based on the angel of death in Korean shamanism, and Korean actors Ahn Hyo-seop and Lee Byung-hun participated in voice acting, drawing more attention. An image of Huntrix and Saja Boys https://www.hankyung.com/article/2025082745957 The Popularity of “Kpop Demon Hunters” “Kpop demon hunters” initially approached the public without much expectation, but when it was released on Netflix on June 20th, it became the No. 1 viewed movie in 41 countries around the world, including the U.S., showing great surprise. After it ranked second in the first week of its release, it rose to No. 1 in the second week of its release. Since then, it has been in second place since the last week of July (July 28th to Aug. 3rd), but has regained its popularity by reclaiming the No. 1 spot. "K-pop Demon Hunters" currently ranks second in Netflix's movie history with 230.9 million cumulative viewers and 350.9 million cumulative watching hours. Currently, the No. 1 spot in movie history is "Red Notice," which was released in 2021, with 239.9 million cumulative viewers and 454.2 million cumulative watching hours. The gap with "K-pop Demon Hunters" has narrowed to 20.4 million viewers. If this trend continues, it is highly likely that "K-pop Demon Hunters" will beat "Red Notice" to rise to No. 1. Rotten Tomatoes, which counts movie reviews as well as box office hits, received positive reviews from 95 percent of critics and 94 percent of viewers, and its cinematic quality was recognized. Not only the success, but its cinematic quality was recognized by Rotten Tomatoes, which counts movie reviews with positive reviews from 95% of critics and 94% of viewers. Above all, it is the music from the movie that is at the center of its popularity. Its original sound track has become a sensation in major music services such as iTunes and Spotify. In particular, "Your Idol" topped the daily top song of the Spotify U.S. chart on July 4th local time, a milestone with only BTS’s Jungkook and Jimin's solo songs and Blackpink’s Rosé's "APT." Finally, seven original sound track’s songs entered the Billboard main single chart "Hot 100," which was released on July 8th local time, and the songs showed its presence by ranking second on the Billboard main album chart "Billboards 200" for three consecutive weeks. Huntrix's song "GOLDEN" topped the official U.K. single charts as well as the U.S. Especially, "Soda Pop," which was the debut song of the evil idol Saja Boys, became a trend on TikTok and YouTube, producing multi-million-view challenges not only for idols and celebrities but also for the general public. BTS also made headlines by humming soda-pop songs on live broadcasts, saying, "Have you seen the movie?" In addition, many K-pop singers showed off their singing skills by posting videos their covering “GOLDEN”. The Charming Points Then, why and how people be enthusiastic about “Kpop Demon Hunters” like this? The first charming point of this movie is K-ness. This movie is also a tribute of Korean and Korean creators to homeland. Director Maggie Kang, who left Korea at the age of five and settled in Canada, said she really wanted to create an animation featuring Korean culture someday, but thanks to the creators’ affection and passion, the Korean elements have been reproduced as perfect testimonies, not as half-baked one. The main characters wear traditional “norigae” as accessories and use a knife which is a traditional dagger from the Joseon Dynasty, as weapons, and they get energy by eating gimbap, shrimp crackers, seolleongtang, and cup noodles in the back stage. The tiger and the magpie Seo, who took the motif from the painting “Tiger and Magpie”, draw attention with their cuteness every time they appear, and some details that only Koreans can recognize such as "Napkin laying under the spoon" and "Green flannel in a public bath” are fun parts. "Koreanism has been added by Korean employees in all departments," director Maggie Kang said. In addition to this, Netflix's streaming platform has amplified the movie's popularity. It was available to watch all over the world right after its release and gained explosive response from outside Korea. Interestingly, Korean audiences also enthusiastically received the American-made film, which is thanks to its accurate reflection of Korean folklore and K-pop culture. Foreign fans say, "It was more enjoyable to learn the details of Korean culture," and appreciate that the film plays a cultural role. This symbolizes the expansion of K-pop's global fandom and shows that the film has become a catalyst for cultural exchange beyond mere entertainment. The next point of its success is music. The soundtrack of the movie contains the essence of K-pop and is a key element that exploded the popularity of foreign fans. As K-pop idols appear in K-pop Demon Hunters as the main characters, the production team also worked hard on the original sound track. The songs are catchy like real K-pop hits, and video-style sequences are inserted throughout the movie to captivate audiences. After their release, the viral challenge spread on TikTok and YouTube, and even non-K-pop fans started to sing along as well. BBC analyzed that “The secret to dominating the global music charts is the connection of addictive melodies and plots.” Making real K-pop-like music is part of a thorough examination. Korean entertainment agency “The Black Label” and “K-pop Hit Maker producer” Teddy participated in the music work to raise the level of perfection, while girl group Twice sang the song "Take Down" themselves. The setting in which Saja Boys come back with a dark and sexy concept after their refreshing concept debut song is also a part of their understanding of idol culture. As a composer, Lee Jae who was a trainee at SM Entertainment, a Korean entertainment agency, composed major songs such as "GOLDEN," "How It's Done," and "Your Idol," and especially received more attention as she voiced Lumi, the main vocalist of Huntrix in "GOLDEN." With this amazing examination and the ongoing subject matter of K-pop, the movie has created a consensus across many ages, making everyone fall in love with the movie. It seems that the current generation of parents, who went through the golden age of millennial boy bands and girl groups, can easily indulge in K-pop idol music. The last point is its universal story. Despite the unfamiliar subject matter of superstar idols' hunt for demons, the reason why favorable reviews continued was that it eventually contained a universal story. The message that K-pop Demon Hunters can grow into a "real me" only when they face and overcome their wounds and deficiencies has earned sympathy from many people regardless of nationality. In addition, while seeking to differentiate themselves with Korean materials such as goblins, the angel of death, and shamans, it has become a story that can be heard everywhere in the world due to the universality of the occult genre. The biggest attraction of "K-pop Demon Hunters" is its original setting, which combines the splendor of the K-pop industry with supernatural fantasy. The main characters are idol stars on stage, but they turn into heroes who hunt demons at night. This dual-life concept is similar to Western pop culture such as "Spider-Man" and "Buffy the Vampire Slayer," which can be easily sympathized with foreign audiences. In particular, the movie introduced elements based on Korean folk myths (e.g., the angel of death or the devil), but reinterpreted them in a modern and humorous manner, lowering cultural barriers. As a result, Western audiences who are unfamiliar with K-pop also fall into the "fun and addictive" story. The success of "K-Pop Demon Hunters" is an important milestone in terms of the global influence of Korean culture. First of all, Korean culture has become a "genre" that is commonly used in the world regardless of nationality. "The fact that a film that is entirely culturally Korean is produced by an American company is a testament to the strong power of Korean culture," said director Maggie Kang, who made the film in English. She added, "These days in the U.S., everything goes crazy when a “K” comes in front of it. I felt that Korea has a culture that can have a global impact." The traces left by K-Pop Demon Hunters are meaningful, so I hope you think about them at least once. Sources: https://www.yna.co.kr/view/AKR20250818010500005?input=1195m https://www.etoday.co.kr/news/view/2497797 https://www.korea.kr/news/policyNewsView.do?newsId=148945871 https://www.queen.co.kr/news/articleView.html?idxno=440425 https://www.newsis.com/view/NISX20250820_0003296389 https://biz.heraldcorp.com/article/10560407?ref=naver https://www.mk.co.kr/news/culture/11397875 https://daily.hankooki.com/news/articleView.html?idxno=1259859 https://www.betanews.net/article/view/beta202508230011 https://www.hankyung.com/article/2025082121807 https://www.asiatoday.co.kr/kn/view.php?key=20250822010010818 https://www.khan.co.kr/article/202508220825001 https://www.segye.com/newsView/20250823503734?OutUrl=naver https://www.viva100.com/article/20250915500162

• 작성일 2025-09-19
• 좋아요 Like 2