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    ‘KPop Demon Hunters’ Review: Singing, Slinging and Slashing

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    Beyond the somewhat silly premise of this Netflix animated film is a charming, funny and artfully punchy original universe.Lest you roll your eyes and think of it as a four-quadrant-friendlier version of “Abraham Lincoln: Vampire Hunter,” “KPop Demon Hunters” immediately establishes its premise, getting any prospective scoffing out of the way.For generations, a voice-over intro explains, girl groups have used their popular songs to secretly trap hordes of demons underground and keep the world safe. The latest group on their trail? Huntrix, a K-pop girl band that, in its fight against the sinister Gwi-ma (Lee Byung-hun) and his demons, is close to completing the Golden Honmoon, a protective barrier that will permanently keep evil forces at bay. But the girl group soon faces its toughest challenge yet: a demon boy band.With that somewhat silly logline behind us, what we’ll find in this Netflix animated film, directed by Maggie Kang and Chris Appelhans, is an original universe that is charming, funny and artfully punchy.It’s a Sony Pictures Animation film that shares a kind of lineage with the studio’s recent hit “Spider-Verse” franchise that is most apparent in the similar visual style. But otherwise what it borrows mostly is a more holistic and technical sense of the cinematic, a philosophy of approach that is rare in big-budget animation films. The action sequences are fluid and immersive, the art is frequently striking and the music (catchy, if formulaic earworms) is a properly wielded and dynamic storytelling tool.And as for the cheesy girl group vs. boy band story, Kang and Appelhans have a sly sense of humor about it all, too; the movie is funniest when it pokes at pop culture that is highly manufactured, from K-pop to K-dramas to mass-produced singing competitions — the very things the film itself would never stoop to.Rated PG. Running time: 1 hour 35 minutes. Watch on Netflix. More

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      BTS Reunion Nears as RM and V Finish Military Service

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      RM and V emerged from a base in South Korea on Wednesday in fatigues. Three other members of the hugely popular boy band will finish their national service this month.RM and V of BTS emerged from a base in Chuncheon, South Korea, and gave fans a brief saxophone performance.Kim Hong-Ji/ReutersJin: check. J Hope: check. And on Tuesday, RM and V: check.That leaves only three members of the K-pop boy band BTS still doing their national service: Jimin, Jungkook and Suga. And when they too are discharged this month, their fans’ long wait will be over. BTS will be civilians again, and a vastly lucrative reunion can follow.RM and V emerged from a base in Chuncheon, South Korea, on Wednesday in military fatigues. V, 29, carried flowers, while RM, 30, had a saxophone on which he gave a brief impromptu performance on one knee.“There were tough and painful moments, of course,” RM said, as translated by The Korea Herald, “but during our service, I came to deeply appreciate the many people who have protected this country.”BTS’s record label, Big Hit Music, had pleaded with fans to stay home and not make a circus of the members’ discharges: “We kindly ask fans to send their warm welcome and support from their hearts.” But hundreds of screaming, camera-wielding, flag-waving fans showed up anyway.RM of BTS gave an impromptu saxophone performance after he and another member of the band, V, were discharged from South Korea’s military on Tuesday.Anthony Wallace/Agence France-Presse — Getty ImagesNearly all able-bodied young men in South Korea are required to serve a year and a half of military duty.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      NewJeans Had Planned a Rebirth. The Performance Ended in Tears.

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      K-pop’s most imaginative group has been battling its powerhouse label. Our critic watched as its first concert in months was upended by a court ruling.For most of the last three years, the most clever, artful and progressive act in K-pop has been NewJeans, a five-member girl group — Danielle, Haerin, Hanni, Hyein and Minji — with an almost preternatural musical and aesthetic sophistication. With one elegantly rendered chart-topping single after another, the artists, who range in age from 16 to 20, seemed invincible.Which is why the group’s announcement, last November, that it wished to terminate its contract with its label and management agency, Ador — a sublabel of the K-pop conglomerate Hybe — was such a watershed moment. NewJeans said that its differences with the company were irreconcilable, and that it would move on separately.Ador took exception, leading to back-and-forth legal fusillades. (A lawsuit about the validity of the contract will begin with a hearing on April 3.) Last month, NewJeans’ members announced they were taking on a new name, NJZ, and that the group would perform for the first time under that moniker at ComplexCon Hong Kong, which took place this past weekend.Two days before the performance, though, the Seoul Central District court approved an injunction requested by Ador that precluded NewJeans from participating in or initiating any new commercial activity as NJZ. A representative for the group said that it would appeal.Ominously, a statement from Ador said it would have representatives at the Hong Kong show: “We will be fully present at ComplexCon this weekend to guarantee the performance is presented under the NewJeans name. We eagerly anticipate meeting with the artists for a heartfelt conversation at the earliest opportunity.”Minji performed Upsahl’s “Smile for the Camera,” a charged pop-rock song about chafing at authority. Lam Yik Fei for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Ahead of World Tour, Blackpink’s Members Venture Out On Their Own

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      On new solo releases, Jennie, Jisoo, Lisa and Rosé each face a choice: double-down or retreat from their roles in the smash K-pop girl group.As K-pop supergroups go, Blackpink was — remains? — a supernova. In the late 2010s, it released a series of EPs and singles that emphasized maximalism and pandemonium. Its songs were huge, and pugnacious, and rowdy — a bit of a rejoinder to some of the delicate girl groups that preceded it, and a bit of a taunt about just how much mayhem a pop hit could contain.Blackpink was also utterly modern — though functionally split between its true singers, Rosé and Jisoo, and its rappers, Lisa and Jennie, there was a surprising amount of vocal versatility across all the group members. Their flexibility kept the group’s music nimble and unpredictable — ideas arrived at warp speed, and departed almost as quickly.After a few years, though, Blackpink’s chaos began to rattle and rankle a bit — its hugeness in sound, and also in global success, threatened to topple the empire.And so there was a hiatus, albeit a brief one, that’s now ending with the release of solo projects by all four members, in advance of a reunion tour that begins in July. (Reunions aren’t what they used to be — the group last toured in 2023.)In theory, the albums should be an opportunity to underscore what each of the four does best, and an opportunity to expand on the roles they played in the group — and sometimes the new releases do. But more often, holding the albums side by side tells a story about record label ambitions and the more legible parts of K-pop’s genre cross-pollination more so than the artistic ambitions of each member.Lisa and Jennie, most responsible for Blackpink’s signature attitude, are reckoning with similar pressures on their new albums, both of which nod to the sound that made the group erupt while attempting to chisel out a path forward.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      South Korean R&B Singer Wheesung Is Found Dead at 43

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      The artist was known for popularizing the musical genre in the country, but convictions for drug abuse damaged his image.The South Korean singer-songwriter Wheesung, who popularized R&B music in the country but had documented struggles with drug abuse, was found dead in his home in Seoul on Monday evening, police said. He was 43.Fire department officials found the singer, whose birth name was Choi Whee-sung, in a state of cardiac arrest in his apartment around 6:30 p.m. on Monday. An officer at Seoul Gwangjin Police Station said there was no evidence of a break-in or foul play, and that the authorities were investigating the possibility of a drug overdose.The death is the latest in a string of tragedies to strike the country’s booming entertainment industry. Several South Korean celebrities have died including Kim Sae-ron, a young actress who was found dead at her home a few weeks ago. Police ruled Ms. Kim’s death a suicide.Mr. Choi, who also went by Realslow, began his career in 2002 with the album “Like a Movie” and quickly gained critical and popular acclaim, winning several South Korean music awards in the same year. `He released around a dozen albums and also starred in musicals, playing iconic roles including Zorro and Elvis Presley. Mr. Choi also helped write music for some of South Korea’s most successful K-pop bands, including Twice and Super Junior.His career suffered a setback in 2021, after he was found guilty of purchasing and using propofol, a powerful sedative that is a controlled substance in South Korea, on several occasions. He received a suspended sentence of one year in prison, avoiding jail time on the condition that he didn’t reoffend. He was also fined 60.5 million won (around $41,000), ordered to perform community service, and undergo drug treatment.With the drug charge, Mr. Choi came under scrutiny from the media and faced harsh public criticism, with some people posting hateful comments online. In South Korea, the social standing of celebrities usually hinges on having a blemish-free reputation and blameless character.Singers in South Korea posted tributes in honor of Wheesung on their social media accounts. “His music was a big part of my 20s,” the rapper Paloalto wrote on Instagram along with a picture of Mr. Choi’s first album cover. “Thank you for being there with me.”Wheesung had been scheduled to perform on March 15 with the singer KCM in Daegu, a city in the country’s south.Tajoy Entertainment, the company that managed Wheesung, did not immediately respond to a request for comment.If you are having thoughts of suicide, call or text 988 to reach the 988 Suicide and Crisis Lifeline or go to SpeakingOfSuicide.com/resources for a list of additional resources.In South Korea, call 109 for the health ministry’s suicide prevention hotline, or visit the Korean-language site 129.go.kr/109. More

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      ‘The Interview’: K-Pop Trained Rosé to Be ‘a Perfect Girl.’ Now She’s Trying to Be Herself.

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      South Korean pop, known as K-pop, is not just a type of music — it’s a culture, where bold style, perfectly choreographed dance moves and ebullient earworms that draw from pop, hip-hop and traditional Korean music attract a huge and particularly devoted global fan base. The genre’s stars, known as idols, are trained, often for years, by entertainment companies that then place the most promising trainees in groups, write and produce their music and obsessively manage their public images. It’s a system that works for the idols who make it big, but it has also drawn criticism for its grueling methods, which some call exploitative.One of the biggest stars to come out of that system is Rosé. Born Roseanne Park, she trained for four years with one of K-pop’s largest agencies, YG Entertainment, eventually breaking through as part of the girl group Blackpink. Now at age 27, she is striking out on her own with her first full-length solo album, “Rosie,” which comes out on Dec. 6 from Atlantic Records. (The album’s first single, “APT.” a collaboration with Bruno Mars, is a true bop and has made history as the first track by a female K-pop artist to break into the Top 10 on the Billboard Hot 100.) She is still a member of Blackpink, and the group re-signed with YG in 2023. But after years of singing other people’s songs and performing as Rosé, which she described to me as “a character that I really worked hard on as a trainee,” writing her own songs for this solo album has made her think about where she came from and who she is, separate from the system that turned her into a global phenomenon.Listen to the Conversation With RoséThe Blackpink star talks about striking out on her own, away from the system that turned her into a global phenomenon.Subscribe: Apple Podcasts | Spotify | YouTube | Amazon | iHeart | NYT Audio AppYou’re about to release your first full-length solo album. Can you tell me what you’re feeling? Like I’ve been waiting to release this album for my whole life. I grew up listening to a lot of female artists. I used to relate to them, and they used to really get me through a lot of tough times. And so I would always dream of one day having an album myself. But I never really thought it would be realistic. I remember last year when I first began the whole process of it, I doubted myself a lot.It probably would be surprising to anyone who would look at Rosé, with all your success, with the enormous fan base that you have, to know that you doubted yourself so much. I don’t think I ever learned or trained myself to be vulnerable and open and honest. So that was the part I feared, because it was the opposite of what I was trained to do.You were born in New Zealand to South Korean immigrant parents and then you moved to Australia when you were 8. In 2012, when you were 15, you auditioned for a slot in YG Entertainment’s trainee program, which is basically a boarding school for becoming a K-pop star. It was your dad’s idea, right? Yes. More

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      NewJeans’s Complaints Against Hybe Brings Scrutiny to K-Pop’s New Releases

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      The breakout girl group went public with complaints against its parent company, Hybe, which has just released a new TV series and film about the control it exerts over stars.A huge part of the success of NewJeans — the most creatively promising new K-pop act of the past two years — has been its music videos: stylistically sophisticated, vividly colorful, palpably joyful. Starting with music that deploys top-shelf songwriting buoyed by production savvy about global microtrends, the group developed a singular aesthetic to go with it, drawing equally from high fashion, lived-in nostalgia and contemporary cuteness.So it was striking when, a couple of weeks ago, the group released a video performance unlike any that preceded it. In a live broadcast on a burner YouTube account, the group’s five members — Danielle, Haerin, Hanni, Hyein and Minji — spoke for almost 30 minutes about their dissatisfaction with their parent company, Hybe. They particularly focused on how it had de-emphasized the role of the group’s executive producer, Min Hee-jin, in their work.Here was a group putting its external image and its internal leverage at risk to argue for their creative lives. It is an infrequent scenario at this level in K-pop, a genre and business in which careful choreography — of music, visuals and star behavior — is crucial to the power of the art.This livestream, of course, was as art directed as any of the group’s technicolor music videos. The members dressed largely in black, speaking softly in an anonymous office. Out in the world, NewJeans is vibrant, dynamic and approachably fun; in this clip, which some fans speculated was secretly orchestrated by Min, the members were reduced to spiritless cogs, as if trapped and suffocated by the corporation itself.Min Hee-jin, NewJeans’ executive producer, called a news conference in April to dispute accusations of corporate malfeasance by her employer, Hybe.Chung Sung-Jun/Getty ImagesFor almost as long as K-pop has been a global force, it has been an exemplar of the controversial virtues of top-down control. American pop labels essentially abandoned this mode more than a decade ago, following the boy band and Britney-Christina era. The influence of social media in creating bottom-up hits and stars has all but invalidated the label-knows-best mode of creation. But K-pop’s commitment to that ethic persists, and has made exactitude into an artistic virtue.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Controversy Over K-pop Band NewJeans

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      The firm Hybe has lost hundreds of millions of dollars in market value because of a feud with the creative force behind the band NewJeans.The video had none of the hallmarks of K-pop. No catchy tune, no snazzy outfits, no slick dance routines. Definitely no stars. It was set in an unremarkable auditorium with plain white tables and a large projector screen.But it included screenshots of chats between two power players in the industry and instantly became the talk of the K-pop world.It was the live broadcast of a two-hour emotional tell-all delivered last month by Min Hee-Jin, the producer of NewJeans, arguably today’s hottest K-pop act. She had called a news conference to dispute accusations of corporate malfeasance by her employer, Hybe, the K-pop colossus behind BTS.The unusually public and hostile feud — which has included allegations of plagiarism, chart rigging and shamanism — has led to hundreds of millions of dollars being wiped off Hybe’s market value. And it has cast a cloud over Hybe’s relationship with a rising star, NewJeans, while its biggest act, BTS, is on hiatus.“It’s about money, it’s about control and also the ownership of an artist,” said Andrew Eungi Kim, referring to NewJeans. A professor at Korea University, Mr. Kim studies the country’s cultural influence, a phenomenon known as hallyu.The members of BTS, who are all serving in South Korea’s military because of mandatory conscription, are not expected to reunite until next year. As some of them have released solo albums, NewJeans has racked up its share of accolades. In the past year it has topped the Billboard 200, played at Lollapalooza and appeared in commercials for Apple and Coca-Cola.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Taylor Swift Sells a Rainbow of Vinyl Albums. Fans Keep Buying Them.

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      Artists across pop genres are finding success with colored vinyl and different variants of their releases. For Swifties, the urge to collect them all is strong.When Taylor Swift released nine vinyl editions of her album “Folklore” in 2020, Tylor Hammers, a fan in Florida, took notice. But it wasn’t until “Midnights” two years later that he became a true collector, scouring the internet and retail shops for every variation of her albums he could find — spending about $1,000 in the process — and cataloging the technicolor expanse of Swift’s LP output in an online discography.“I get enjoyment out of being a completionist,” Hammers, 24, said in a recent interview.He’s not the only one.Although streaming remains the dominant music format, physical media has been a growing niche where the industry can cater to so-called superfans, who express their dedication to artists by shelling out big bucks for collectible versions of new releases, sometimes in multiple quantities. K-pop acts like BTS pioneered this strategy by putting out an array of elaborate CD packages, often featuring goodies like postcards and photo booklets, which helped the boy band repeatedly go to No. 1.But nobody does it quite like Swift, or at least at the same scale. Last year she sold 3.5 million LPs in the United States, thanks in part to five pastel-hued variants of “1989 (Taylor’s Version),” a rerecording of her 2014 album, and the popularity of Swift’s entire catalog during her record-breaking Eras Tour.When Swift’s latest album, “The Tortured Poets Department,” comes out on Friday, it will be available in a portfolio of different versions — on vinyl, CD and even cassette — with bonus tracks and, on certain “deluxe” editions sold through Swift’s website, trinkets like magnets, photo cards and engraved bookmarks. Some items, like a standard CD, go for as little as $13. But last weekend, Swift’s site offered a limited run of autographed LPs for $50, which, according to fans on social media, vanished in 20 minutes.“The Tortured Poets Department” comes out on Friday in a number of different versions and formats including CD, left, and cassette. We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More