The power of hybridity behind 'KPop Demon Hunters' and 'King of Kings'

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The power of hybridity behind 'KPop Demon Hunters' and 'King of Kings'

Published: 18 Jul. 2025, 09:24 Updated: 18 Jul. 2025, 14:38

Audio report: written by reporters, read by AI

Moon So-young

The author is an editorial writer at the JoongAng Ilbo.

“I’m a 44-year-old dad with a 9-year-old daughter and an 11-year-old son. We have family movie nights every Friday, and Netflix recommended this animated film. I barely knew what K-pop was — I had to ask my wife — but after watching it, all four of us were hooked. The movie is fantastic, and the music is even better!”

This comment, posted by an American viewer on the YouTube video for “Golden,” a song featured in "KPop Demon Hunters," is far from unique. Dozens of similar responses have appeared from Western men in their 30s to 50s, many of whom discovered the film through their children and ended up declaring themselves new K-pop fans.

A still from Netflix and Sony Pictures Animation's ″KPop Demon Hunters″ [SCREEN CAPTURE]

Such reactions point to a shift. KPop Demon Hunters is pushing Korean pop culture beyond its typical global fan base of teens and young women. Songs by the film’s fictional idol group have topped real-world music charts, including Billboard’s Global 200. Around the world, fans are uploading dance covers and cosplay videos inspired by the film.

Responses in Korea have been mixed. Some hail the film as a “victory for K-culture,” while others are more skeptical, noting that "KPop Demon Hunters" was produced by Sony Pictures, a U.S. subsidiary of Japan’s Sony Group. Critics argue that “Korean creativity delivers, but foreign capital profits.” But this oversimplifies the film’s global impact.

It’s worth recalling that ten years ago, Korea paid to appear in Hollywood productions. The Ministry of Culture and Seoul's city government offered extensive incentives to bring "Avengers: Age of Ultron" (2015) to Seoul, including traffic control and reimbursements of up to 30 percent of local production costs.

By contrast, "KPop Demon Hunters" presents Korea's Bukchon neighborhood and traditional motifs — like folk art, knot designs and traditional headwear — without any such prompting from the Korean government. The depiction of Seoul is far more compelling than it was in "Avengers." More importantly, the film reaches young viewers likely to shape future consumption patterns. As seen in the testimonials of Western parents, it also introduces new demographics to K-pop.

This shift marks a turning point. K-culture is no longer petitioning Hollywood for attention. Hollywood is now voluntarily turning to Korean themes.

Still, the fact that "KPop Demon Hunters" was not made by a Korean studio raises important questions. Some point to the lack of large-scale domestic animation studios and global platforms. Others argue that had the film been produced in Korea, its sharp, self-aware humor may not have survived.

A New York Times review praised the film’s “visually intense and original world” and noted its best moments come when it pokes fun at formulaic aspects of Korean pop culture — K-pop group dynamics, K-drama clichés and the factory-like idol training system. While such critiques may feel uncomfortable, they are not unfounded. The film exaggerates these tropes playfully, offering both affectionate parody and thoughtful critique.

At its heart, the story of "KPop Demon Hunters" centers on a protagonist who learns to embrace her imperfect identity. The plot is universal — evoking comparisons to "Frozen" (2013) — but also resonates with the real pressures faced by K-pop idols to maintain flawless public personas. In this way, the film simultaneously critiques and celebrates K-culture, encouraging self-reflection within the industry.

That dual perspective may explain why the film feels so balanced. Korean American creatives, including director Maggie Kang, contributed significantly to its production. Their insider-outsider perspective is likely what gave the film its tone — something that might have been harder to achieve in a fully domestic production.

A scene from the animated film “King of Kings,” produced by Mofac Studio. [SCREEN CAPTURE]

In contrast, consider "King of Kings" (2024), a Korean-produced animated film that set box office records in North America after its Easter release. Directed by Jang Sung-ho and produced by Mofac Studio, the film tells a traditional story of the life of Christ, with no overt Korean cultural elements. Its success stems from respectful, high-quality storytelling — something Hollywood studios have recently shied away from. "King of Kings" filled that gap.

The common denominator between the two films is hybridity. Postcolonial scholar Homi Bhabha described hybridity as a “third space” from which new, dynamic identities emerge. "KPop Demon Hunters" and "King of Kings" exemplify this principle, combining Korean creative input with global storytelling forms to reinvigorate both industries.

As the Korean cultural wave faces questions about creative stagnation, these hybrid works suggest a new path forward — one where cultural blending drives innovation rather than compromise.

Translated from the JoongAng Ilbo using generative AI and edited by Korea JoongAng Daily staff.