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How 'KPop Demon Hunters' became the surprise hit of the summer
How 'KPop Demon Hunters' became the surprise hit of the summer

The Star

time2 hours ago

  • Entertainment
  • The Star

How 'KPop Demon Hunters' became the surprise hit of the summer

In the colourful, animated, musical world of KPop Demon Hunters, everyone is a fan. The general public rocks T-shirts supporting their favorite idols. They hold light sticks and stare starry-eyed at stadium stages; they scream, they cry, they cheer, they buy the merch. It shouldn't come as much of a surprise, then, that the Sony Pictures/Netflix film itself has inspired similar fanfare, having topped the streamer's global rankings. Fans have flooded the internet with art, covers, cosplay and choreography in response to the movie, which follows the fictional K-pop girl group HUNTR/X as they fight demons. And it's not just the film that's a summer hit. The KPop Demon Hunters soundtrack has topped the charts - debuting at No. 1 on Billboard's Soundtracks chart and No. 8 on the all-genre Billboard 200. Here's how KPop Demon Hunters became the year's surprising success story. The movie follows the fictional K-pop girl group HUNTR/X as they fight demons. The KPop Demon Hunters soundtrack utilises some of the best and brightest in the genre. That included a partnership with K-pop company The Black Label, co-founded by super producer Teddy Park, known for his work with YG, Blackpink and 2NE1 - empowered girl groups used as references for the film's protagonists, the trio HUNTR/X. "It's one of the many reasons the musical film's soundtrack stands on its own. Filmmakers really did their homework," says Jeff Benjamin, a music journalist who specialises in K-pop. Indeed, they did a lot of research. One of the film's directors, Maggie Kang, said that her team prioritised representing the fandom and the idols in a very specific way, as to not disappoint K-pop fans. They pulled from a treasure trove of influences heard at every corner: The fictional, rival boy band Saja Boys' hit song Soda Pop, for example, references the '90s K-pop group H.O.T. The Saja Boys' 'Soda Pop' references the '90s K-pop group H.O.T. And it has worked. KPop Demon Hunters is the highest charting soundtrack of 2025, with eight of its songs landing on the Billboard Hot 100. It peaked at No. 2 on the all-genre Billboard 200. To put that in perspective: Lorde's Virgin and Justin Bieber's Swag did the same. In some ways, it recalls Disney's Encanto, which topped the Billboard 200 and produced a No. 1 hit, We Don't Talk About Bruno in 2022. Similarly, KPop Demon Hunters embraces the original soundtrack, which is a lost art form, adds Benjamin. Tamar Herman, a music journalist and author of the Notes on K-pop newsletter, says the movie succeeds because it embraces animated musical tradition and authentic K-pop music production styles in equal measure. The movie succeeds because it embraces animated musical tradition and authentic K-pop music production styles in equal measure. She considers Kpop Demon Hunters to be a musical with songs inspired by K-pop, not unlike a Jukebox musical, where the songs of ABBA are reimagined for Mamma Mia. The novelty of the film, too, seems to be resonating. Where many animated films rely on adapting existing intellectual property, KPop Demon Hunters is original. And it comes from an original perspective. "It's not completely Korean, it's not completely Western and it's kind of right in that middle," says Kang. "It's like not pulled from one side; it's kind of flavours of both. So, I think that's what makes the movie feels a little different. "And the core story is what's drawing everybody in," says Kang. 'It's not completely Korean, it's not completely Western and it's kind of right in that middle,' says Kang. San Francisco-based cosplayer and content creator Nanci Alcántar, who goes by Naanny Lee online agrees. "It's not only a K-pop group, but it also tells a story of their journey, of how they transform into powerful warriors," said Alcántar in Spanish. "For her, it goes beyond K-pop - it's about the narrative." Kang's approach to cultural authenticity, too, may have contributed to the film's crossover appeal. Rather than explaining Korean elements like HUNTR/X's visit to a traditional medicine clinic or translating K-pop light stick culture for Western audiences, she opted for full immersion. "We just wanted everybody to just accept that they were in Korea," Kang said. Kang's approach to cultural authenticity, too, may have contributed to the film's crossover appeal. The director said this method of throwing people into the deep end of a culture breaks down barriers better than heavy-handed explanation. "We just wanted to keep everything feeling normal," she explained. "If you don't shine a light on it, it just becomes more easily accepted." Sabrinah Santiago, a San Diego-based longtime K-pop fan and freelance illustrator who goes by Itmes online, was so inspired by the animation style of the movie that she raced to make fan art. She sold illustrated fan cards of HUNTR/X and Saja Boys at her booth at the Los Angeles Anime Expo, held in July, two weeks after the movie was released on Netflix. And she wasn't the only one. A search of #kpopdemonhunters on Instagram yields thousands of fan illustrations of HUNTR/X and Saja Boys. it's not just the film that's a summer hit. The 'KPop Demon Hunters' soundtrack has topped the charts. Japan-based Youtuber Emily Sim, also known as Emirichu online, says the character designs and original plot drew her to the movie. Sim, with more than 3.5 million subscribers on YouTube, posted a 35-minute video about the movie. In a week-and-a-half, it garnered nearly 450,000 views. "I love seeing all the fan art and just the ways that this movie has creatively inspired people," Sim said. Kang says for KPop Demon Hunters, her team wanted to bring together demons and Jeoseung Saja - the grim reaper in Korean mythology - for a film that could look both very traditional and modernised - what she says is common in K-dramas but not in animation. Herman compares the movie to another Sony animation: Spider-Man: Into the Spider-Verse, which also attracted a broad audience with its creative animation. "And it's a fun, animated musical, which we haven't had in a while," she says. "It's campy, it's engaging, it's universal." The Saja Boys performing 'Your Idol' in their grim reaper concept. Santiago was initially skeptical of the title KPop Demon Hunters. "I feel like with big companies they kind of like to use K-pop as a bait. They kind of like to take advantage of K-pop fans' sincerity," said Santiago. "But I felt like with this one, it was such like kind of a love letter to K-pop fans." Indeed - "if the film wasn't authentic to K-pop fans' experience, or mocked them, it is unlikely to have become so popular," says Benjamin. "Instead, there are Easter eggs for the dedicated K-pop listener." Herman agrees, and says that the film has in-jokes for K-pop fans, not unlike a children's movie that features some humour meant to appeal specifically to parents. "Figuring out what makes K-pop tick in a way that resonates with musical fans was really important to this movie," said Herman. For Kang, that was always at the heart of the project. "Fandom plays a huge part in the world being saved at the end of the movie," she said. "So, we were really confident that we were doing that justice." – AP

Kevin Jonas Recalls ‘Losing Almost All' of His Money After the Jonas Brothers Broke Up
Kevin Jonas Recalls ‘Losing Almost All' of His Money After the Jonas Brothers Broke Up

Yahoo

time12 hours ago

  • Entertainment
  • Yahoo

Kevin Jonas Recalls ‘Losing Almost All' of His Money After the Jonas Brothers Broke Up

Kevin Jonas recently got candid about a topic that's usually taboo: money. While appearing with brothers Joe and Nick on the Wednesday (July 9) episode of School of Greatness, the guitarist opened up about struggling with his finances after the Jonas Brothers went their separate ways in 2013. The band would eventually reunite six years later, but during the siblings' professional time apart, Kevin says he lost money as a result of some 'bad business deals.' More from Billboard Joe Jonas Praises Sophie Turner, Says They Have a 'Great Coparenting Relationship' Following Divorce 'Pride & Prejudice' Film Soundtrack Bewitches the Charts With 20th-Anniversary Vinyl Reissue Fred again.. Releases 'Victory Lap' Remix Featuring Denzel Curry 'I've seen it both ways,' the oldest Jo Bro told podcast host Lewis Howes during a discussion on wealth. 'I've seen the beginning of the success, to financial success — not knowing what money really was and understanding it — to not having [it], to losing almost all of it.' When asked whether he'd really lost most of his funds, Kevin clarified, 'most of it, down to the one 10 percent left.' 'About nine years ago, I invested in a bunch of property and doing other things, and I was building at the time,' he added. 'Sadly, it wasn't the right partnership. I've learned a lot of lessons in that. Thankfully … we had a second shot and bite at the apple with the band coming back together.' The Jonas Brothers first started making music together as teenagers, earning fame thanks to their projects with Disney Channel and Billboard 200-topping albums A Little Bit Longer and Lines, Vines and Trying Times. When disagreements over the band's direction and general burnout started to divide the brothers — something they opened up about in their 2019 Billboard cover story — they disbanded around 2013. As Kevin mentioned, a second chance rolled around six years later, when the trio decided to give band life another shot after each pursuing solo projects. Their reunion was an immediate success, with single 'Sucker' becoming their first-ever No. 1 on the Billboard Hot 100 in March 2019. But before they could get back together, Joe says they each had to figure out how to check their egos at the door. 'There was too much under the rug,' he said on the podcast. 'We had to trust each other more with being like, 'Actually, you are good in this band, you are talented.'' And despite some fans labeling him as the band's 'frontman' early on, Joe also said that each of the brothers had to come to the following realization: 'We could all share the spotlight, we could all share the studio, we could all share the songwriting, we could all share the money.' Watch the Jonas Brothers' full in interview on School of Greatness above. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart Solve the daily Crossword

Justin Bieber Is Here to Save a Summer of Strangeness
Justin Bieber Is Here to Save a Summer of Strangeness

Atlantic

time4 days ago

  • Entertainment
  • Atlantic

Justin Bieber Is Here to Save a Summer of Strangeness

Can this really be the song of the summer? For seven weeks now, the most popular tune in the country has been Alex Warren's 'Ordinary'—a solemn ballad that has all of the warm-weather appropriateness of a fur coat. Ideally, the song of the summer is a buoyant one, giving you a beat to bob a flamingo floatie to. 'Ordinary,' instead, is made for stomping, moping, and forgetting. The top reaches of the Billboard Hot 100 have otherwise mostly been stale and flukey, filled with songs that were popular last summer (Teddy Swims's 'Lose Control'), replacement-level efforts by the streaming behemoths Drake and Morgan Wallen, and tie-ins from the Netflix cartoon show KPop Demon Hunters. Then, just last week, a welcome bit of warmth and novelty emerged at No. 2—'Daisies' by Justin Bieber, the unlikely emblem of our obviously fragile national mood. Perhaps you aren't inclined to check out new music by a formerly chirpy child star who lately has been best known for his surreal interactions with paparazzi. But earlier this month, the 31-year-old Bieber suddenly released a new album, Swag, that made headlines for being rather good. Not 'good for Bieber'; good for a modern pop release. Swag filled a void in the summer-listening landscape by meeting listeners where they so clearly seem to be—less in need of a party-fueling energy drink than a soothing slather of aloe. The album is Bieber's first since parting ways with manager Scooter Braun, the record-business kingpin who recently seemed to suffer a catastrophic collapse in support from the celebrity class. The music departs from the pert poppiness of Bieber's past to indulge the singer's well-documented fascination with hip-hop and R&B. In one interlude, the comedian Druski tells Bieber 'your soul is Black'; the assertion is cringey, but the album's music is significantly more subtle than that. Bieber never really raps. Rather, he uses his ever-yearning, creamy-soft voice to do what great rappers and R&B singers often do: find a pocket within a beat, and then let emotions be his guide. What's really fascinating about the album, though, is that it sounds like it's wrapped in gauze. The production is aqueous and rippling, rather than shiny and laminated as one might expect from Bieber. Swag is heavily influenced by the indie producer-artists Dijon (who collaborated on a few of the album's songs) and (a producer on 'Daisies'). They have risen to prominence by swirling bygone rock and pop signifiers into a comforting yet complex stew of sound. Swag 's songs similarly hit the listener with a sense of gentle intrigue, like a minor recovered memory. The instant hit 'Daisies' exemplifies the approach. Its twanging guitars and pounding drums scan as countrified classic rock, but every element seems muffled, as if emanating from an iPhone lost in a couch. The verses steadily build energy and excitement—but then disperse in a gentle puff of feeling. In a lullaby whisper, Bieber sings of pining for his girl and sticking with her through good times and bad. 'Hold on, hold on,' goes one refrain: a statement of desire for safety and stability, not passion and heat. But my personal song-of-the-summer nomination would be Swag 's opening track, 'All I Can Take.' It opens in a tenor of pure cheese, with keyboard tones that were last fashionable when Steve Winwood and Boyz II Men were soundtracking school dances. A lightly pumping beat comes to the fore, setting the stage for a parade of different-sounding Biebers to perform. In one moment, he's a panting Michael Jackson impersonator. In another, he's an electronically distorted hyperpop sprite. The song is serene, and pretty, and ever so sad—yet it's also wiggling with details that suggest there's more to the story than initially meets the ear. The lyrics thread together sex talk with hints of stresses that must be escaped; 'It's all I can take in this moment,' Bieber sings, hinting at a burnout whose cause the listener is left to imagine. Swag 's approach—downtempo yet bustling, melancholic yet awake—is on trend emotionally as much as it is musically. Though the year has brought no shortage of bright, upbeat pop albums from the likes of Lady Gaga and Kesha, the music that's sticking around has a reserved, simmering quality. The biggest Wallen song of the moment is 'What I Want,' a collaboration with the whisper-singing diva Tate McRae; it builds suspense for a full minute before any percussion enters. One rising hit, Ravyn Lenae's 'Love Me Not,' has a neo-soul arrangement that fidgets enough to keep the ear occupied without demanding active attention. A dreary technological reason probably explains why this kind of music is popular: Streaming rewards background fare more than it rewards jolting dynamism. But even looking at my own recent playlists, downtempo seems in. The best song by Addison Rae, the TikTok phenom turned pop mastermind, is 'Headphones On,' a chill-out track laden with tolling bells and jazz keyboards. I have kept returning to the album Choke Enough by Oklou, a French singer who makes electronic pop that's so skeletal and frail-seeming, you worry you're despoiling the songs merely by listening to them. Other recent highlights: the mumbled and dreamy indie rock of Alex G's Headlights, the depressive easy listening of Haim's I quit, and 'Shapeshifter,' the wintry-sounding standout from Lorde's Virgin. It's hard to avoid psychoanalyzing this season's musical offerings and concluding that the culture is suffering from malaise, or at least a hangover. After all, just a year ago we had ' Brat summer,' named for the hedonistic Charli XCX album. The songs of that summer were irrepressible: Sabrina Carpenter's sarcastic 'Espresso,' Kendrick Lamar's taunting 'Not Like Us,' and Shaboozey's thumping 'A Bar Song (Tipsy).' But this year, Charli XCX's biggest song is 'Party 4 U'—a pandemic-doldrums ballad released in 2020 that recently blew up thanks to a TikTok trend of people sharing emo stories about their lives. The track captures a bleary feeling of trying to have fun but getting pulled into melancholy. That's a feeling lots of Americans surely can relate to. Every era brings its own reasons to fret about the state of the world, but the headline-news topics of late—wars, deportations, layoffs—are upending lives in profound ways at mass scale. Swag isn't about any of that, but great pop always works to make small and personal emotions echo broad, communal ones. Bieber's highly publicized experiences navigating mental health, drug use, and physical maladies have long served up a cautionary tale about life in the internet era. In the months leading up to Swag 's release, he posted angry, inscrutable messages online and confronted reporters on the streets. Pundits have taken to asking Is he okay? The cooling, noncommittal, lightly distressed sound of Swag is an answer of sorts. Like many of us, he's doing as well as can be, given the circumstances.

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