“KPop Demon Hunters” has brought a spotlight to the K-pop industry.
The Netflix original movie has over 314 million views and has become the platform’s most-watched film of all time.
With its action sequences and infectious soundtrack, the animated musical has introduced millions within Western audiences to K-pop. But curious newcomers looking deeper into K-pop are discovering an industry in crisis, one that contrasts with the fictional empowerment of animated idols.
But while “KPop Demon Hunters” achieved mainstream success, the K-pop industry is still grappling with one of its most publicized controversies.
NewJeans, one of the most successful girl groups in K-pop history, has been embroiled in a legal battle that exposes the darker side of the industry’s business model.
The dispute, beginning in April 2024, erupted between HYBE, one of K-pop’s largest entertainment companies, and ADOR, NewJeans’ sub-label, when ADOR CEO Min Hee-jin faced allegations of attempting to take control of the label from HYBE.
The situation escalated when the group itself took a public stance against HYBE. Their comments raised questions about the power dynamics within K-pop’s tightly controlled ecosystem.
After a court ruling siding with ADOR in March 2025, the group’s independence was further restricted, revealing artists’ limited control over their careers. The case sent shockwaves through the industry.
For newcomers, whether it be through social media or via “KPop Demon Hunters,” the NewJeans situation uncomfortably introduces the systemic issues within K-pop.
The industry operates on a trainee system where young performers, some as young as five, sign long-term contracts that grant their label extensive control over not just their music, but every aspect of their lives. While this system has created global superstars, it has also faced criticism for its restrictive nature.
The NewJeans controversy highlights these concerns in real time. The group was at nearly the peak of its success yet powerless to determine its own professional direction.
Global interest in K-pop has never been higher, with Western audiences more receptive than ever to Korean music and culture. “KPop Demon Hunters” proves a massive appetite for K-pop and K-pop-inspired content.
Yet, the industry’s response to its controversies will determine whether that interest turns into lasting international fandom.
As K-pop becomes more dependent on international markets, labels are faced with a greater incentive to adopt practices that align with global expectations regarding artist welfare.
“KPop Demon Hunters” has opened the door for millions of people to explore the genre and Korean culture. For the industry to fully capitalize on the popularity and attention it is gaining, it needs to offer newcomers great music and an industry that they can support in good conscience.
Until then, many fans drawn in by an animated fantasy may decide the reality is too complicated to embrace.
The biggest irony may be that a fictional story about K-pop idols becomes the genre’s greatest ambassador precisely because it doesn’t reflect the truth.
Paul Swartz - Voice Editor