Kpop

This summer, Netflix’s animated hit “KPop Demon Hunters” might have created the most popular K-pop girl group in America. And seemingly the only people unaware of that distinction are its members.

“Is that what it is?,” asks Rei Ami, who with fellow artists Ejae and Audrey Nuna forms the film’s fictional trio Huntr/x. “Is that what it’s being labeled as?”

The stats are behind them: “Golden,” a contender for the Oscar for original song, hit No. 1 on the Billboard Hot 100 for more than eight consecutive weeks, with three other numbers earning a place in the Top 10. As a result, the film’s soundtrack hit No. 1 on the Billboard 200 and recently went platinum. With success has come an array of other opportunities as well. The group have since made a cameo on “Saturday Night Live” and performed on “The Tonight Show Starring Jimmy Fallon.”

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But as Ejae points out, theirs has not been the usual route to K-pop stardom. A former K-pop trainee herself, she notes that many hopefuls spend years developing their craft and chemistry with future group members. “We were all individually our own person. They had their music career, and I have my career as a songwriter,” she says. “[Becoming a K-pop group] later is unheard of with K-pop training. You do it when they’re kids, before anything [can develop], so they can shape them together, whereas we’re our own individuals coming together. Having this synergy is incredibly rare.”

That’s what singing in the most-watched Netflix film of all time will do for you. Premiering in August, “KPop Demon Hunters” propelled the members of Huntr/x — all of them already established in the industry, Nuna and Ami as artists and Ejae, who recently released her first solo single, as a songwriter for K-pop groups — into a new intensity of spotlight. (Ejae also wrote several tracks for the film, including “Golden,” with co-writers Mark Sonnenblick, Ido, 24 and Teddy.)

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1. Rei Ami is the singing voice for Zoey. 2. Ejae is the singing voice for Rumi. 3. Audrey Nuna is the singing voice for Mira. (Justin Jun Lee / For The Times)

“We were thrown together, basically,” says Nuna. “I’ve seen photos of us and I [thought], ‘Damn, we look like we were perfectly calculated to be in this group.’ The balance is nuts. But to think how serendipitous it was that this happened — we didn’t audition in rooms or go through multiple rounds of pairings to find each other… It just speaks to the beauty of the universe and how things go and when things just happen.”

In fact, the singers did not even meet until nearly five months ago, on the carpet at the film’s premiere. They recorded their parts separately with executive music director Ian Eisendrath, who then worked with the music team to edit them all together.

Ami was the last to record her part, which meant she got to hear “This Is What It Sounds Like” in its entirety with all the voices meshed together. The moment recalled the film’s final scene, in which Huntr/x — whose members double as the demon hunters of the title — reunites to fight the main villain to the sounds of the very same song, when “This Is What It Sounds Like” plays.

“I got to hear the song in full and all of our harmonies for the first time,” she recalls. “I was completely moved. I knew in my heart that this was going to be great.”

Still, they never expected the film to become a global phenomenon, resulting in their now chaotic schedules filled with press interviews, panel engagements, media appearances and special performances. Ami smiles, “We’re doing our best.”

Through it all, they’ve hyped each other’s achievements and held hands while expressing their appreciation for each other.

“These women have worked so hard on their journeys individually,” says Ami. “The industry has been so tumultuous, and the amount of pain, struggle, blood, sweat and tears that we’ve individually had to deal with … These two girls are the only ones in the world who will fully understand what I’m going through. I can’t talk to anyone else about this. Only they understand, and I feel so supported and not alone.”

They all clasp hands, with Ami telling the others, “I love you guys.”

And, for all the challenging moments, they are immensely grateful for the chance to fulfill their dreams. They all express their gratitude for the opportunity, as it has always been their dream.

“Literally, a month before the movie came out, I was doubting myself as a songwriter,” Ejae explains. “My goal was to get No. 1 on the Hot 100. I was going to do that — move to California, write so many sessions, and get No. 1. It felt impossible.”

“Those are all things we have on our bucket list,” Ami, right, says of the prospect of performing at the Oscars or Grammys.

(Justin Jun Lee / For The Times)

Ami becomes emotional about the film’s success when she talks about its impact on her career.

“I’m so blessed,” she says, holding back tears. “It’s really introduced me to more fans and new fans. This whole experience has taught me a lot about myself and what I want to do as an artist. My dreams are coming true.”

That hasn’t necessarily been the experience for her groupmates, though. “It takes a very long time [for me] to process and metabolize emotions,” Nuna says of her own lack of waterworks. “I’ve never wanted somebody to cry so much in my life,” Ami chimes in, laughing. “Feel something!”

The “instant chemistry” displayed in their interview was recently on display when the three were asked to perform “Golden” together for “The Tonight Show Starring Jimmy Fallon” — their first as a group. And the more they rehearsed, the more they cohered. Just like a real K-pop group.

“It’s really wild and weird,” says Nuna. “Honestly, the mesh of our voices just felt so intuitive. It was very organic and easy. The song is not easy, but the mesh and connecting were. It was literally our first time singing together, and I feel like we were hearing overtones in our harmonies and stuff, because they’re just really locked in.”

Awards buzz, for both the Oscars and the Grammys, has come as a surprise to the group, but it leads to questions about reuniting Huntr/x onstage at the biggest pop culture events of the year.

“[Performing at the Oscars or Grammys] would be the biggest deal,” says Ami. “I think we can all relate. That’s probably one of the highest accolades and achievements you can accomplish as an artist, songwriter, and producer. Those are all things we have on our bucket list.”

The trio hasn’t thought far enough ahead about an actual performance on either stage, as they’ve only recently begun rehearsing together.

“Jimmy Fallon will be a good practice,” Ejae laughs. “Good warm-up preparation.”

Indeed, though they have joked about forming a (real-life) K-pop group, all three are busy with individual projects — at least for now.

“If we were to get together, the charts better watch out!” Ami shouts. “You might not ever see another name other than us.”

Netflix on Tuesday said its third-quarter revenue jumped 17% to $11.5 billion, powered by the hit animated film “KPop Demon Hunters.”

The Los Gatos-based streamer reported a net income of $2.5 billion during the third quarter, up 8% from the same period a year ago but well below the $3 billion analysts had projected, according to FactSet.

Revenue was in line with analyst estimates and was boosted by increased subscriptions, pricing adjustments and more ad revenue.

The company said it incurred a $619-million expense related to a dispute with Brazilian tax authorities.

“Absent this expense, we would have exceeded our Q3’25 operating margin forecast,” Netflix said in a letter to shareholders on Tuesday. “We don’t expect this matter to have a material impact on future results.”

Netflix shares, which closed Tuesday at $1,241.35, fell 5% in after-hours trading.

As it continues to dominate the streaming market with more than 301 million subscribers, Netflix has been investing in a diverse slate of content, including new movies rolling out in the fourth quarter such as Guillermo del Toro’s “Frankenstein,” as well as the final season of sci-fi hit “Stranger Things” and family-friendly games for the TV such as Boggle.

“KPop Demon Hunters” has garnered more than 325 million views in its first 91 days on the service. The movie, about a trio of powerful singers who hunt demons, was released in June.

It bested 2021 action film “Red Notice,” which had been previously its most watched film in its first 91 days on Netflix with 230.9 million views.

On Tuesday, Netflix also announced a licensing deal with toymakers Hasbro Inc. and Mattel Inc. to make toys including dolls, action figures, youth electronics and other items related to “KPop Demon Hunters.”

Popular TV shows launched in the third quarter include the second season of the Addams family spinoff series “Wednesday” and the second season of drama “My Life With the Walter Boys.”

“When you have a hit the size of ‘KPop Demon Hunters,’ it stirs the imagination of where you can take this,” said Ted Sarandos, co-chief executive of Netflix, in an earnings presentation.

He said the film benefited from Netflix’s platform, allowing superfans to repeat view it and make it appealing for audiences to watch in theaters as well. “We believe this film, ‘KPop Demon Hunters,’ actually worked because it was released on Netflix first,” Sarandos added.

The company said in the fourth quarter it expects revenue to grow another 17% due to growth in subscriptions, pricing and ad revenue.

For the full year, Netflix is forecasting revenue of $45.1 billion, up 16%, and said it is on track to more than double it ad revenue in 2025.

Like other entertainment companies, Netflix has been taking steps to diversify its business in a challenging landscape, as production costs for TV and movies increases and studios consolidate.

“With entertainment industry employment becoming more precarious, Netflix is slyly pivoting its content strategy to rely more on live sports, YouTubers, creators and podcasters,” said Ross Benes, a senior analyst with research firm Emarketer in a statement.

But some investors still remain skeptical about the future of subscription streaming services, as the technology behind video generation tools powered by AI get more sophisticated, making it easier to replicate visual effects and customize content to viewers.

“Netflix’s core lay-back easy-to-watch scripted content is potentially most at risk by the emergence of generative AI compared to peers,” said John Conca, analyst with investment research firm Third Bridge. “Netflix will need to channel its earlier days and find a way to remain nimble, even though it’s now the 800-pound gorilla in this space to deal with this threat.”

On Tuesday, Netflix said it is using generative AI to improve the quality of its recommendations and content discovery on its platform. Creators on Netflix are also using AI tools for their projects, including filmmakers for comedy “Happy Gilmore 2” using generative AI and volumetric capture technology to de-age characters.

Netflix is looking to capitalize on the popularity of its animated movie “KPop Demon Hunters” — and continue its foray into the retail space.

Netflix on Tuesday announced a licensing deal with toy makers Mattel Inc. and Hasbro Inc. to make dolls, action figures, plushies, youth electronics and other items based on “KPop Demon Hunters,” a movie about a trio of powerful singers and demon hunters who protect the world from dangerous demons.

“KPop Demon Hunters” has been a worldwide hit since its release in June, becoming Netflix’s most-watched film with more than 325 million views in its first 91 days on the streaming service.

The licensing deals come as Netflix has been aggressively partnering with brands to expand the fandom of its shows and movies.

Next month, Netflix will open the first of several planned physical locations called Netflix House where it will host experiences based on its programs and sell food and merchandise.

“KPop Demon Hunters unleashed a global fan frenzy,” said Marian Lee, Netflix’s chief marketing officer, in a statement. “Netflix, Mattel and Hasbro joining forces on this first-of-its-kind collaboration means fans can finally get their hands on the best dolls, games, and merchandise they’ve been not-so-subtly demanding on every social platform known to humanity.”

Under the partnership, Hasbro and Mattel will both become global co-master toy licensee to “KPop Demon Hunters.”

Netflix has had other partnerships with other toy makers, including Squishmallows for shows like sci-fi series “Stranger Things” and Lego sets based on pirates tale “One Piece.”

The Los Gatos, Calif., company has also launched in-person experiences such as balls based on the Regency era romance series “Bridgerton.”

“KPop Demon Hunters is a powerful pop culture phenomenon with global resonance—one that aligns seamlessly with our portfolio of iconic brands and our commitment to innovation,” said Tim Kilpin, Hasbro’s president of toy, licensing, and entertainment, in a statement.

“KPop Demon Hunters” creator Maggie Kang thinks there’s potential for more Huntr/x stories in the future, but only in animation.

In a recent interview with the BBC, the co-director of the Netflix phenomenon said there is nothing officially in the works, but she thinks “there’s definitely more we can do with these characters in this world.” Kang and her co-director Chris Appelhans also assured fans that if another “KPop Demon Hunters” were to happen, “it will be a story that deserves to be a sequel, and it will be something that we want to see.”

Produced by Sony Pictures Animation, the movie follows a popular K-pop girl group whose members use their music and dance moves (and magical powers) to fight demons and protect the world. But Huntr/x’s leader Rumi is keeping a secret from her bandmates Mira and Zoey that could lead to their downfall.

Since its June debut, “KPop Demon Hunters” and its catchy soundtrack have smashed numerous records on Netflix as well as the Billboard charts. The movie’s massive popularity led to a limited theatrical run for sing-along screenings as well as live performances of its songs.

With Hollywood’s current trend of sequels and remakes, it’s easy to believe that “KPop Demon Hunters” could spawn its own franchise. But Kang and Appelhans both insist that a live-action adaptation should be off the table.

“It’s really hard to imagine these characters in a live action world,” Kang told the BBC, pointing to the tone and comedic elements in “KPop.” “It would feel too grounded. So totally it wouldn’t work for me.”

Appelhans agreed that the characters in “KPop Demon Hunters” are best suited for animation and worried a live-action version of them could feel too “stilted.”

“One of the great things about animation is that you make these composites of impossibly great attributes,” Appelhans told the BBC. “Rumi can be this goofy comedian and then singing and doing a spinning back-kick a second later and then free-falling through the sky. The joy of animation is how far you can push and elevate what’s possible.”

For now, it seems that Huntr/x will keep shining only in the medium they were born to be — in animation.

PRINCESS Charlotte loves Netflix smash K-Pop Demon Hunters, a six-year-old fan claims.

Ivy Brown wrote asking if the ten-year-old had seen the animated musical, calling it the “best movie ever”.

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K-Pop Demon Hunters is currently Netflix’s most popular film ever and has been streamed a whopping 236 million times.

Within a week, a letter from Kensington Palace arrived at Ivy’s home in Wokingham, Berks.

It said: “You may be interested to know Golden from K-Pop Demon Hunters has been played during Changing the Guard at Buckingham Palace.”

It also thanked Ivy for her “support for Princess Charlotte”.

She said: “I think that Charlotte loves K-Pop Demon Hunters, so I’m happy.”

Asked where she keeps her letter, she added: “I keep it safe, I keep it in the kitchen.

“I took it to show-and-tell at school.

“I told my friends that I had a letter from Princess Charlotte and they were like, ‘Really?’

“Then I showed it to them and they were like, ‘Wow!’”

Her mum Louise said: “It was lovely to get such a personal note.

“Ivy was ecstatic.”

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Ejae, Audrey Nuna and Rei Ami went up, up, up for their “Golden” moment on “The Tonight Show Starring Jimmy Fallon.”

The trio, who provide the singing voices for the animated “KPop Demon Hunters” central girl group Huntr/x, hit the late-night TV show Tuesday to perform the Netflix movie’s signature song. It marks the first time they have hit the stage together for a live, full-length performance of “Golden,” and even Fallon could not contain his excitement.

The first No. 1 female K-pop song in the history of the Billboard Hot 100, “Golden” has helped propel the “KPop Demon Hunters” soundtrack to its newest accolade. Fallon informed Ejae, Nuna and Ami during the show that the record had gone platinum.

When asked about their experiences around the massive popularity of “KPop Demon Hunters,” the trio offered words including “surreal,” “scrumptious” “delicious,” “stunning” and “bonkers.”

“We try to come up with new adjectives every time,” said Nuna, who provides the singing voice for Mira.

Their “Tonight Show” appearance follows their brief cameo on the Season 51 premiere of “Saturday Night Live.” During their sitdown interview with Fallon, both Nuna and Ami (the singing voice of Zoey) recounted real-life encounters with “Golden” that drove home the magnitude of “KPop Demon Hunters’” impact.

For Nuna this happened on a trip to Korea when she saw an elderly street performer playing “Golden” on a traditional Korean instrument.

“I had to do a double take because in Korean culture, it’s especially impressive if an elderly person is impressed with you,” said Nuna, who explained that Korean elders rarely bat an eye at accomplishments like attending an Ivy League college or graduating top of your class. “It’s really hard [to impress them]. They have high standards. So for the older generation to embrace it, it’s something different.”

Ami’s encounter was with a much younger fan. She recalled a trip to an H Mart where she saw a young boy singing “Golden” at the top of his lungs while holding hands with his mother.

“I think it’s one thing to hear our song on the radio, but to hear it come out of a child, live?” Ami said. “In H Mart, my favorite place? … I just cried at HMart.”

Ejae, meanwhile, offered an anecdote that suggests “Golden’s” success may have been preordained.

Prompted by Fallon, the co-writer of “Golden” shared that while recording her part of the song at the studio, she saw a brief glimpse of “a grunge ghost.”

It was “a tall dude with a flannel … and blue jeans,” Ejae said. And this brief encounter may have been auspicious.

“My mom reminded me later [that] there’s a myth in Korea in the music [business], if you see a ghost or any paranormal activity while recording a song, it’s a hit,” she said.

Asia’s popular culture wave that for two decades has been dominated by two giants. South Korea with its K-Pop wave and dramas, and Japan with its manga and anime, which is now undergoing a fundamental shift. A new force that is tough and colorful has risen from China, not through idol groups or ninjas, but through a small figure with pointed ears and a mysterious smile named Labubu. This figurine by Hong Kong artist Kasing Lung is not just a toy but the spearhead of a huge wave of Chinese popular culture that is ready to challenge and even dictate global tastes. Labubu and his predecessors and companions raise provocative questions about whether we will soon say goodbye to the dominance of K-Pop and manga.

Labubu, as a character from The Monsters line by the Pop Mart brand, is a real example of how China combines the power of storytelling, design, and a brilliant business model. Pop Mart, which was founded in 2010, has transformed into a multi-billion-dollar blind box empire. In 2022, the company reported operating income of 4.62 billion RMB yuan, or around 679 million US dollars, with a net profit of 539 million RMB yuan, equivalent to 79.3 million US dollars. Its global growth is even more astonishing, with revenue in overseas markets soaring 147.1 percent in the same year. As of June 2023, Pop Mart has opened more than 500 stores in 23 countries and regions, including fashion centers such as Paris, London, and New York. Global market research institute Frost & Sullivan explained that Pop Mart successfully leverages consumer psychology through a blind box model that creates a sense of anticipation, collection, and community. This model is more than just a toy; it is a social and cultural experience that changes the way people interact with cultural products.

When compared to Korean and Japanese popular cultural commodities, there are fundamental differences in business models and accessibility. The Japanese industry is based on long and complex narrative stories such as manga and anime, where consumers invest time and emotions to follow a series. The merchandise is often expensive and aimed at serious collectors. While South Korea focuses on idolization through K-Pop, where fans not only buy music but also merchandise, concert tickets, and albums in various versions to support their idols. These ecosystems are built around human stars. On the other hand, Chinese products such as Pop Mart and Labubu are more abstract and decorative. Consumers don’t need knowledge of complicated stories to have them. The price is relatively affordable, around 15 to 30 US dollars per box, so it is impulsive and easily accessible to Generation Z and millennials. This is a lighter and more visual form of cultural consumption.

In terms of global impact and cultural adaptation, K-Pop and Korean dramas have managed to export Korean values, fashion, and language to the rest of the world through the Hallyu wave with cultural ambassadors such as BTS and Squid Game. Japanese manga and anime became the foundation of global subcultures such as cosplay and conventions that influenced artists and filmmakers in the West for decades. Chinese pop culture for now exports less specific Chinese lifestyles and focuses more on aesthetics and business models. People buy Labubu because its designs are unique and funny, not because it represents a specific Chinese mythology, even though some characters are inspired by it. It is a subtle globalization of products with universally accepted Chinese design DNA. The role of the government is also a crucial differentiator. China’s National Bureau for Cultural Exports and Imports actively encourages the export of cultural products as part of the national soft power strategy. Meanwhile, Korean and Japanese industries are driven by private companies with government support that is more facilitative.

Labubu is just a symptom of a larger creative ecosystem that is exploding in China. Donghua, or Chinese animations, such as The King’s Avatar and Mo Dao Zu Shi, have a huge fan base and compete directly with Japanese anime on streaming platforms, with the number of views reaching billions. Novel web platforms such as China Literature have become repositories of intellectual property, with millions of titles adapted into dramas and successful games, creating vertical synergies resembling the Marvel Cinematic Universe. The mobile gaming industry in the hands of Tencent and NetEase is becoming a global giant. Games like Genshin Impact from miHoYo or HoYoverse are not only financially successful, with annual revenues reaching billions of dollars, but also win the hearts of global players through the quality of animation and awesome stories with a distinctively Chinese twist.

Ultimately, the rise of Chinese pop culture is not a sign to say goodbye to K-Pop and manga. This wave is precisely a powerful new challenger that is diversifying and democratizing global tastes. The market now has more options where a fan can love Korean dramas, collect Labbubu figurines, and play Genshin Impact and still look forward to the latest manga chapters at the same time. The dominance of popular culture is no longer held by just one or two countries. Labubu and its ecosystem are symbols of a new era where China is no longer a follower of pop culture trends but rather a trendsetter. They have learned the recipe for success from Japan and Korea in terms of content quality, merchandising, and fan community and added manufacturing strength, innovative business models, and strong state support. This is not a war to be won, but rather an evolution in which the global pop culture stage is expanded with new players full of confidence. The right greeting is not goodbye, but welcome to competition. For fans around the world, this is good news because there will always be more interesting things to love.

It was bound to happen sometime. This year, the most important Hollywood movie of the key summer season didn’t start its quest for world domination in movie theaters. It came out on Netflix.

“KPop Demon Hunters,” the cartoon musical about a girl group using catchy tunes to keep evil at bay, has become a viral phenomenon since it launched on the streamer June 20. With 210 million views globally so far, it’s the most watched animated movie ever on Netflix, and is expected to soon top “Red Notice” as the company’s most popular film.

That should be no surprise at this point. Unlike many previous widely watched Netflix movies, “KPop” — produced by Culver City-based Sony Pictures Animation — has penetrated the cultural zeitgeist, leading to gushing from millennial parents’ group chats including mine, chart-topping songs and, of course, memes galore.

To keep the momentum going, Netflix took the unusual step of putting the movie in theaters weeks after its streaming debut.

“KPop Demon Hunters” sing-along screenings played in more than 1,750 locations domestically to packed houses, with more than 1,150 sold-out showings, though it did not play in AMC cineplexes. It was the No. 1 movie in theaters, scoring in the ballpark of $18 million in ticket sales, according to industry sources, enough to top the third weekend of Zach Cregger’s horror hit “Weapons.” Netflix released the sing-along version of “KPop Demon Hunters” for streaming on Monday.

Netflix, as is its typical practice, did not report actual box office grosses, so the counts for its first No. 1 box office hit aren’t official. Nonetheless, theater operators were clearly relieved to have the movie, even if for only two days. The August box office doldrums are in full swing, with little to cheer about from the traditional studios.

The summer blockbuster season is expected to end with about $3.5 billion in total revenue from the first weekend of May through Labor Day, according to analysts, which would be either roughly flat or slightly down from last year’s thin slate. More than $4 billion is considered normal or healthy by pre-pandemic standards.

The biggest hit this summer was Disney’s “Lilo & Stitch,” a live-action remake that collected $422 million in the U.S. and Canada and more than $1 billion globally. Last summer, two movies topped $600 million: Pixar’s “Inside Out 2” and Marvel’s “Deadpool & Wolverine,” both of which were Disney titles.

Netflix has had a tense relationship with the theatrical business since it first got into making movies. The company puts movies in cinemas for limited runs as part of marketing efforts, awards campaigns and as a way to appease filmmakers who prefer the big-screen experience. Co-Chief Executive Ted Sarandos earlier this year called the theatrical business “outdated” for most people, citing weak box office numbers after the COVID-19 closures.

Indeed, theatrical attendance has shrunk even more than the top-line revenue figures suggest, with shortfalls partly papered over by increases in ticket prices over the years.

When Scott Stuber ran Netflix’s film business, he pushed the company to do more with theaters because auteur directors wanted it. The film side is now run by Dan Lin.

People who advocate for the multiplex keep hoping that some event will persuade Netflix that its theory is wrong — that something like the “KPop Demon Hunters” screenings or next year’s Imax rollout for Greta Gerwig’s upcoming “Narnia” project will prove that Sarandos is mistaken and theatrical windows will actually benefit Netflix beyond using them as promotional ploys.

Rivals say their movies do better on streaming services when they’re already theatrical hits, a theme repeated by the new owners of Paramount who are trying to grow their direct-to-consumer business.

But if anything, Netflix is digging in.

The company sees the success of “KPop,” along with the recent release of “Happy Gilmore 2,” as proof that movies can resonate culturally without theaters and the massive advertising budgets necessary to open a film on 4,000 domestic screens. The Adam Sandler-starring sequel scored 46.7 million views in its first three days on the service and set a Nielsen record for the most-watched streaming movie in a single week.

Netflix has long faced skepticism from Hollywood over its film business, which can put up big viewership with movies like “Red Notice” and “The Adam Project” that seem to vanish from audiences’ consciousness without a trace.

We kind of already knew that movies, particularly animated musicals aimed at kids, could find a big audience online without being a theatrical smash. “Encanto,” released in November 2021 during the pandemic and the Bob Chapek era, did paltry box office by modern Disney standards but became a phenomenon when its Lin-Manuel Miranda-penned songs took off on social media.

When kids latch onto something, they watch it repeatedly, and they don’t care if it’s been in theaters or not. If the movie is good and relevant to them, it can work regardless of the release strategy.

Would “KPop Demon Hunters” have worked if it had been released in theaters exclusively? Who knows. If it had opened to modest box office results, as animated original movies tend to do lately, it would have immediately been written off as a disappointment. Instead, it stayed on the Netflix top 10 lists for weeks and climbed the Nielsen rankings because of word of mouth.

Part of its success is that the movie feels very “now,” whereas animated films sometimes aim for timelessness. It’s culturally specific, with universal themes (friendship and young people’s need to belong) that have powered Disney blockbusters for decades. A colleague of mine aptly described it as a sort of “Buffy the Vampire Slayer” meets “Frozen.” Its music is current and rides the wave of everything influenced by South Korean pop culture.

Will it have the enduring influence of the “Frozen” franchise or “Moana,” movies that started primarily as properties for girls but became touchstones for a broader audience? Perhaps not, but it does give Netflix another data point to validate its streaming movie strategy.

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Even $3-trillion Apple isn’t immune to streaming inflation.

Apple TV+, home of series including “The Studio” and “Ted Lasso,” is raising its subscription price by $3 to $12.99 a month, following the lead of other streamers chasing better returns.

Finally …

Read: I’m listening to the audiobook of Blink-182 bassist Mark Hoppus’ “Fahrenheit-182.” A must for this San Diego native.

A wave of purple and hot pink hair and cartoon K-pop bops is taking over multiplexes.

With summer blockbusters in the rearview mirror and only a few new films out, movie theaters expected a bit of a lull at the box office this weekend.

Then Netflix dropped a bombshell. The streamer would release its hit animated film “KPop Demon Hunters” — already a viral phenomenon on streaming — in theaters Saturday and Sunday for sing-along screenings.

The movie will be shown on more than 1,750 screens in the U.S. and Canada, with 1,150 shows sold out as of Thursday, according to industry sources. It’s an unusually high-profile move by Netflix into cinemas, which is using the big screen experience to capitalize on and promote one of its biggest wins.

Packed houses include the theaters of Dallas-based Look Dine-In Cinemas, which has locations in Glendale, Redlands, Downey and Monrovia.

“This will be the dominant force for the weekend,” said Look Chief Executive Brian Schultz. “We could put it on every screen in our auditorium.”

But is this theatrical release really gonna be golden, to paraphrase one of the musical’s most infectious earworms? We won’t know for sure. Or at least how golden.

Los Gatos-based Netflix will not release box office figures, sticking with the company’s long-standing policy that has long frustrated industry pros. All the same, based on presale numbers, the movie could haul in $16 million to $22 million, according to estimates from analysis site Box Office Theory. That total, if Netflix reported it, would unseat the expected official No. 1 domestic movie, “Weapons.”

The release is a welcome surprise for theater owners — particularly in the doldrums of summer, when even late breakout hits like Warner Bros.’ horror film “Weapons” have been out for weeks. But it also underscores the tricky relationship between exhibitors and Netflix, which has famously eschewed traditional theatrical film releases.

The streamer has briefly put films in theaters for Oscar consideration, as it did with “Roma” and “The Irishman,” and did give director Rian Johnson’s 2022 comedy “Glass Onion: A Knives Out Mystery” a short window in cinemas. (It will also have a three-week exclusive theatrical run for Guillermo del Toro’s “Frankenstein” in October.)

But the streamer has long been adamant that its focus is on growing its subscriber base — not on developing a theatrical business. Earlier this year, Netflix co-CEO Ted Sarandos said the theatrical movie experience was “outdated” for most people. When the company does theatrical releases, it views them as marketing efforts.

That has led to long-standing complaints from theater owners, who argue that streaming has lessened their business and trained audiences to wait until films are available at home.

“Netflix and a sizable share of theatrical exhibition have spent so many years toeing the line as frenemies, if not outright adversaries,” Shawn Robbins, director of movie analytics at ticket seller Fandango and founder of Box Office Theory, said in an email. “This is a weekend that again highlights how they could, and perhaps should, start working together more often to the benefit of both sides.”

The film, produced by Culver City-based Sony Pictures Animation, is the most-watched original animated movie in Netflix’s history, according to the streamer.

It’s also now the second-most-watched film ever on Netflix behind the 2021 action-comedy “Red Notice” starring Dwayne Johnson, Ryan Reynolds and Gal Gadot. The movie’s soundtrack has also been a hit, with the song “Golden” peaking at No. 1 on the Billboard Hot 100 charts and continuing to hold onto a high ranking.

“KPop Demon Hunters” focuses on a popular girl group called Huntr/x that uses its music and dance moves to battle evil, including a demon boy band. The movie has spawned a number of memes, including close-ups of the characters’ expressive faces.

The music, as well as the film’s strong female characters, were a draw for Heather Hollingsworth and her 10-year-old daughter, Kayleigh, who have now watched “KPop Demon Hunters” multiple times and are planning to see a screening this weekend with Kayleigh’s best friend and her mom. “Golden” is Hollingsworth’s favorite song from the film, and the one that gets stuck in her head most.

“The songs are really catchy,” said Hollingsworth, 41, a speech language pathologist who lives in Littleton, Colo. “Also the characters’ vulnerability being their strength — that strong friendship — it’s a very powerful message.”

Though they could continue watching “KPop Demon Hunters” at home on Netflix, Hollingsworth said the appeal of the theatrical screening was the social experience.

“There’s something about having it in a movie theater that is way more fun for the kids, especially,” she said.

The sing-along screenings follow similar showings for “Wicked,” as well as concert films such as Taylor Swift’s “Eras Tour” and Beyonce’s “Renaissance World Tour.” Unlike “KPop Demon Hunters,” those films were exclusively in theaters first, resulting, in the case of “Wicked” and Swift, in hundreds of millions of dollars in ticket sales.

For Look Cinemas, sing-alongs have long been big business and often result in a demand for party bookings, Schultz said. Indeed, tickets for “KPop Demon Hunters” have been selling in large groups.

“It’s going to make for a very fun weekend,” he said.

Times staff writer Kaitlyn Huamani contributed to this report.

SEOUL, Aug. 21 (UPI) — Nongshim, South Korea’s largest instant noodle maker, will release a line of products featuring characters from the Netflix hit animated movie KPop Demon Hunters later this month.

Packaging for the company’s popular Shin Ramyun instant noodles and Shrimp Crackers snacks will showcase images of characters from the film, including Rumi, Zoey, Saja Boys and Derpy the tiger, the company said Wednesday.

Nongshim will also launch a new Shin Toomba Sauce and special cup noodles modeled after the snacks eaten by the fictional K-pop group Huntrix in the movie. The company will promote the collaboration through a series of global events, including social media campaigns, digital content and offline pop-ups.

“KPop Demon Hunters’ realistic depiction of various Korean cultures, including K-Pop and K-Food, went viral and is creating a global fandom,” the company said in a statement. “The frequent appearance of ramyun, a quintessentially Korean food, naturally drew attention to Nongshim.”

The animated film, which centers on a K-pop trio who secretly battle demons, has been a massive hit for Netflix since its release in June. As of last week, it has become the second-most-watched film of all time on the streaming service, with more than 210 million views.

The Kpop Demon Hunters soundtrack has also crossed over onto the global music charts, with the single “Golden” by Huntrix topping the Billboard Hot 100 list for the week of Aug. 16.

Nongshim said that the partnership was sparked by the film’s realistic depiction of Korean ramyun and snacks, which many fans said resembled the company’s products.

“This collaboration was possible thanks to fans who identified our products in Kpop Demon Hunters and shared their excitement,” a spokesperson said. “Just as KPop Demon Hunters introduced K-culture to the world, we will also work to genuinely inform global consumers of the taste and value of K-snacks.”

The limited-edition products will be available in South Korea and major markets across North America, Europe, Oceania and Southeast Asia.

SEOUL  — When South Koreans start to obsess over a movie or TV series, they abbreviate its name, a distinction given to Netflix’s latest hit “K-pop Demon Hunters.” In media headlines and in every corner of the internet, the American-made film is now universally referred to as “Keh-deh-hun” — the first three syllables of the title when read aloud in Korean.

And audiences are already clamoring for a sequel.

The animated film follows a fictional South Korean girl group named “HUNTR/X” as its three members — Rumi, Mira and Zoey — try to deliver the world from evil through the power of song and K-pop fandom.

Since its release in June, it has become the most watched original animated film in Netflix history, with millions of views worldwide, including the U.S. and South Korea, where its soundtrack has topped the charts on local music streaming platform Melon. Fans have also cleaned out the gift shop at the National Museum of Korea, which has run out of a traditional tiger pin that resembles one of the movie’s characters.

Much of the film’s popularity in South Korea is rooted in its keenly observed details and references to Korean folklore, pop culture and even national habits — the result of having a production team filled with K-pop fans, as well as a group research trip to South Korea that co-director Maggie Kang led in order to document details as minute as the appearance of local pavement.

There are nods to traditional Korean folk painting, a Korean guide to the afterlife, the progenitors of K-pop and everyday mannerisms. In one scene, at a table in a restaurant where the three girls are eating, viewers might notice how the utensils are laid atop a napkin, an essential ritual for dining out in South Korea — alongside pouring cups of water for everyone at the table.

“The more that I watch ‘Keh-deh-hun,’ the more that I notice the details,” South Korean music critic Kim Yoon-ha told local media last month. “It managed to achieve a verisimilitude that would leave any Korean in awe.”

::

“K-pop Demon Hunters” has nods to traditional Korean folk painting, a Korean guide to the afterlife, the progenitors of K-pop and everyday mannerisms.

(Netflix)

Despite its subject matter and association with the “K-wave,” that catch-all term for any and all Korean cultural export, “K-pop Demon Hunters,” at least in the narrowest sense, doesn’t quite fit the bill.

Produced by Sony Pictures and directed by Korean Canadian Kang and Chris Appelhans — who has held creative roles on other animated films such as “Coraline” and “Fantastic Mr. Fox” — the movie is primarily in English and geared toward non-Korean audiences. But its popularity in South Korea is another sign that the boundaries of the K-wave are increasingly fluid — and that, with more and more diaspora Korean artists entering the mix, it flows in the opposite direction, too.

Those barriers have already long since broken down in music: many K-pop artists and songwriters are non-Korean or part of the Korean diaspora, reflecting the genre’s history of foreign influences such as Japanese pop or American hip-hop.

“Once a cultural creation acquires a universality, you can’t just confine it to the borders of the country of origin, which is where K-pop is today,” said Kim Il-joong, director of the content business division at the Korea Creative Content Agency, a government body whose mission is to promote South Korean content worldwide. “Despite what the name ‘K-pop’ suggests, it is really a global product.”

In “K-pop Demon Hunters,” Zoey is a rapper from Burbank. In addition, the soundtrack was written and performed by a team that includes producers, artists and choreographers associated with some of the biggest real-life K-pop groups of the past decade.

Streaming productions are increasingly flying multiple flags, too: Apple TV’s “Pachinko” or Netflix’s “XO, Kitty” are both American productions that were filmed in South Korea. But few productions have been able to inspire quite the same level of enthusiasm as “K-pop Demon Hunters,” whose charm for many South Koreans is how accurately it captures local idiosyncrasies and contemporary life.

While flying in their private jet, the three girls are shown sitting on the floor even though there is a sofa right beside them. This tendency to use sofas as little more than backrests is an endless source of humor and self-fascination among South Koreans, most of whom would agree that the centuries-old custom of sitting on the floor dies hard.

South Korean fans and media have noted that the characters correctly pronounce “ramyeon,” or Korean instant noodles. The fact that ramyeon is often conflated with Japanese ramen — which inspired the invention of the former decades ago — has long been a point of exasperation for many South Koreans and local ramyeon companies, which point to the fact that the Korean adaption has since evolved into something distinct.

It’s a small difference — the Korean version is pronounced “rah myun” — but one that it pays to get right in South Korea.

Apple TV’s “Pachinko,” with Sungkyu Kim, Eunchae Jung and Minha Kim, is an American production filmed in South Korea.

(Apple)

The girls’ cravings for ramyeon during their flight also caught the eye of Ireh, a member of the real-life South Korean girl group Purple Kiss who praised the film’s portrayals of life as a K-pop artist.

“I don’t normally eat ramyeon but whenever I go on tour, I end up eating it,” she said in a recent interview with local media. “The scene reminded me of myself.”

South Korean fans have also been delighted by a pair of animals, Derpy and Sussy, which borrow from jakhodo, a genre of traditional Korean folk painting in which tigers and magpies are depicted side by side, popularized during the Joseon Dynasty in the 19th century.

In the film, Derpy is the fluorescent tiger with goggle eyes that always appears with its sidekick, a three-eyed bird named Sussy.

“K-pop Demon Hunters” is peppered with homages to Korean artists throughout history who are seen today as the progenitors of contemporary K-pop.

(Netflix)

Though they have long since been extinct, tigers were once a feared presence on the Korean peninsula, at times coming down from the mountains to terrorize the populace. They were also revered as talismans that warded off evil spirits. But much like Derpy itself, jakhodo reimagined tigers as friendlier, oftentimes comical beings. Historians have interpreted this as the era’s political satire: the magpie, audacious in the presence of a great predator, represented the common man standing up to the nobility.

The movie is peppered with homages to Korean artists throughout history who are seen today as the progenitors of contemporary K-pop. There are apparent nods to the “Jeogori Sisters,” a three-piece outfit that was active from 1939 to 1945 and is often described as Korea’s first girl group, followed by the Kim Sisters, another three-piece that found success in the U.S., performing in Las Vegas and appearing on “The Ed Sullivan Show.”

Longtime K-pop fans might recognize the demon hunters from the 1990s as S.E.S., a pioneering girl group formed by S.M. Entertainment, the label behind present-day superstars Aespa and Red Velvet. (Bada, S.E.S.’s main vocalist, recently covered “Golden,” the film’s headline track, on YouTube.)

For a long time, South Korean audiences have often complained about outside depictions of the country as inauthentic and out of touch. Not anymore.

“Korea wasn’t just shown as an extra add-on as it has been for so long,” Kim said. “‘K-pop Demon Hunters’ did such a great job depicting Korea in a way that made it instantly recognizable to audiences here.”

K-pop idol Cherry has come out as a trans woman.

The music talent, also known as Chae Ryujin, announced the exciting news on Instagram Live.

“This isn’t a hobby, it’s my life. I’m trans. Because I wasn’t an ordinary person, I couldn’t reveal everything from the start. My goal was to take it slow. I’m just going with my goal,” she revealed.

Cherry first made waves in the K-pop sphere when she appeared in the 2016 reality TV series “Boy24,” which featured a group of young hopefuls competing for a spot in the titular band.

While she didn’t make the group, it didn’t stop her from becoming a fan favourite. In 2022, Cherry joined the new K-pop group JWiiver, which released one mini-album, JTrap, before disbanding in 2024.

Since sharing the heartwarming news, the beloved talent has been showered with supportive messages from fans on social media.

“As someone who has been following Ryujin forever now I couldn’t be more proud… she’s so brave,” one person on X/Twitter wrote.

Another fan on Reddit echoed similar sentiments, writing: “Omg ryujin, i’m so happy for her!! I’ve followed her since jwiiver and she seems so much happier now. I’m so glad she feels comfortable in her identity!”

A third social media user commented: “Trans rep in kpop. She’s so beautiful, you go girl!”

In response to the overwhelming support, Cherry took to Instagram on 21 July to deliver a heartfelt message to her fans.

🍒 This isn’t a hobby this is just my life…
🍒 I’m trans pic.twitter.com/VUuOPctDd9

— ryujin folder 🏳️‍⚧️ (@ryujin_folder) July 19, 2025

“Hello, I’m Chae Ryujin. In recent days, a lot of international fans. Thank you for your support and love. I read a lot of DMs with appreciation. I’m sorry I couldn’t reply to you one by one,” she wrote.

“I’ll live my second life happier. I would appreciate it if you continue to love and support us. I’ll do my best on YouTube, so please subscribe to my YouTube channel”

Cherry joins a growing number of K-pop idols who have come out as part of the LGBTQIA+ community.

Back in April, JUST B member Bain revealed that he was gay during the Los Angeles stop of the band’s Just Odd World Tour.

Halfway through the concert, the beloved singer – whose real name is Song Byeong-hee – announced that he was “f**king proud to be part of the LGBTQ+ community,” resulting in thunderous applause from the audience.

Bain then performed a cover of Lady Gaga’s iconic LGBTQIA+ anthem, ‘Born This Way,’ while enthusiastically waving a rainbow flag.

Global girl group KATSEYE also made headlines when two of their members came out as part of the LGBTQIA+ community.

In March, Lara Raj confirmed that she was queer while on Weverse, an app that focuses on the interaction between fans and their favourite music artists.

“I knew I was half a fruitcake when I was like eight. So I really was wanting everybody,” she wrote. “Honestly, before eight. Isn’t fruitcake such a good way to explain it without saying it?”

A few months later, Lara’s bandmate Megan Skiendiel came out as bisexual while celebrating Pride Month with the former during a Weverse livestream.

“Should I do it? Guys, I’m coming out, I’m bisexual,” the young singer said after some light encouragement from Lara.

If you’re looking for more LGBTQIA+ celebrities who have come out in 2025, click here.