How KPop Demon Hunters Conquered the World

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Just like top idol groups in K-pop, such as KPop Demon Hunters, excel at more than one aspect. In the realm of K-pop, songs stand independently, yet they are intended to complement a larger performance that blends visuals, dance, fashion, individual charm, and an overarching theme into a captivating narrative spectacle. This approach resembles filmmaking in many ways. Co-director Maggie Kang explains to TIME how KPop Demon Hunters, being involved in animation and storytelling, was carefully designed to offer multiple layers of entertainment, culminating in the summer’s most popular sensation.

In simpler terms, the animated children’s movie called “KPop Demon Hunters” combines humor, action, music, and a touch of spooky elements into one engaging story. Since its quiet launch on Netflix about two months ago, the movie has been gaining momentum and looks set to continue its success. Currently, it is on track to become Netflix’s most-watched film ever (with over 230.9 million views) and two of its original songs are in the Top Ten of the Billboard Hot 100. “Golden,” the movie’s most popular song, is currently the most streamed song in the U.S. Three of the movie’s songs have entered the Top Ten of the Billboard Hot 100, which is a remarkable achievement, as it has not happened since the soundtrack of the 1995 film “Waiting to Exhale.

For Kang, the fascination with pop culture originated from a strong yearning to witness representations of Korean culture in animation, which was scarce in Western productions. In the animated series, “KPop Demon Hunters,” cultural nuances are subtly woven into each scene’s backdrop – from disregarded parking restrictions on Seoul streets to the mannerism of characters Rumi, Mira, and Zoey, such as placing napkins under their chopsticks when dining out.

Through a distinctly Korean perspective, the narrative unfolds: The characters gather for a meal at a restaurant, discussing food around the dinner table. But it’s not just about the food they eat – what kind of dishes are on the table? What surroundings set the scene? Does the ambiance evoke Korea? Every detail seems to strive for an accurate representation of Korean culture.

In the realm of KPop Demon Hunters, the jeoseung saja are not your typical demons. They are the supernatural beings that Korean girl groups and female shamans have battled for generations, as depicted in Korean mythology. Dressed in traditional Korean attire, these grim reapers known as gat are tasked with guiding the dead to the afterlife. In the storyline, Rumi, Zoey, and Mira employ music, dance, and weapons to vanquish these demons and uphold the honmoon, a protective barrier between the human world and the demon realm. Kang recounts that as a child, the jeoseung saja were terrifying to her. However, she found an unexpected appeal in fear when her future niece, who was four years old at the time, enjoyed watching Maleficent despite finding it scary. This realization led Kang to understand that there is an entertainment value for children in being scared.

Later on, K-pop emerged in Kang’s exploration, aiming to incorporate additional elements of Korean culture into the genre. ‘K-pop introduced grandeur and magnitude, the necessary sparkle for marketing success. It was a perfect blend.’

Finding a co-director

In much the same way as many animated films and even K-pop productions, the movie “KPop Demon Hunters” is a collaborative effort of numerous individuals combining their skills to tell one captivating story. Prior to this project, director Kang had been involved in significant animated films such as “The LEGO Ninjago Movie,” “Rise of the Guardians,” and “Puss in Boots.” However, with “KPop Demon Hunters,” it marked her first time directing a feature film. Sony Animation’s President Kristine Belson advised Kang to team up with another director to help manage the extensive workload more effectively. (Notably, “KPop Demon Hunters” was produced at Sony Pictures Animation but was backed by and distributed through Netflix.)

As a movie enthusiast, I found myself intrigued by Kang’s decision-making process when it came to choosing his collaborator for an upcoming project. Initially, he sought out another Asian woman, but the search yielded no fruit. In a candid moment, Kristine candidly shared, “I’m sorry, but I think it’s going to be a white man.”

To my delight, this turned out to be Appelhans, whose directorial debut was the captivating 2021 animated fantasy comedy, “Wish Dragon”. Set in China, the film follows a college student’s extraordinary encounter with a wish-granting dragon. What intrigued me most about Chris’ work on “Wish Dragon” was his commitment to authenticity. He immersed himself in China, living there and working with a Chinese crew to bring the production to life. This dedication towards respecting and embracing cultural nuances is something I admire deeply.

After wrapping up the lengthy production of “Wish Dragon”, Appelhans wasn’t keen on embarking on another extensive project for several years. He shared, “I had a meeting with Maggie and I was quite drained, saying, ‘I think I need a long vacation.’ However, within 10 minutes of her explaining this intriguing concept, although I tried to appear nonchalant, inside I was thinking, ‘Oh dear, I can’t take a break now. This project is worthy of four years of my life.’

For Appelhans, a musician by upbringing, the opportunity with KPop Demon Hunters was a unique chance to unite his two passions. He expresses that he’s always aspired to create an animated movie with a strong musical focus, but not in the traditional Disney-style of emotional singing. Alongside his collaborators, they delved into understanding the shared elements between demon-hunting and K-pop. Drawing inspiration from BTS during the pandemic, who served as a beacon during challenging times, the project began to gain traction.

Music as more than background

In the series KPop Demon Hunters, music serves not just as an entertaining backdrop for action and dance scenes, but is deeply woven into the plot. While many tracks are presented as singles from fictional bands HUNTR/X and Saja Boys within the story, others like “Free” exist primarily to depict characters’ emotions and relationships, rather than being part of a regular in-universe idol discography.

In this fantastical universe, music carries extraordinary influence over its listeners. Just as it can deeply affect people in reality, every song in the movie holds the ability to impact its supernatural audience. The Saja Boys harness this power for malevolent purposes, such as soul-stealing, while HUNTR/X use their musical prowess to contain a powerful entity known as the honmoon.

According to Appelhans, the narrative integrated music in an extraordinary fashion by embracing authentic pop music as an integral part, not just adding pop elements over musical theater or merely layering it on top. Instead, the music was instrumental in unveiling the characters and advancing the storyline.

In the role of the music executive producer for “KPop Demon Hunters”, Ian Eisendrath managed all musical aspects. Although his resume didn’t include experience with animated films, it boasts Olivier Award-winning and Grammy-nominated projects such as the Broadway hit “Come From Away”, Disney’s live-action version of “Snow White”, and Hulu’s “Only Murders in the Building”. In “KPop Demon Hunters”, his responsibilities ranged from conducting and composing to music production and vocal direction. As he puts it, his job was ensuring the musical integrity of the film from start to finish.

This collaboration involved bringing in notable figures from the K-pop industry’s top echelon, such as producers at The Black Label and the creators behind BTS hits like “Boy with Luv” and “Butter.” EJAE, a Korean-American songwriter known for her work on tracks like aespa’s “Drama” and Red Velvet’s “Psycho,” was also part of the team. As one of the lead songwriters, she partnered with Mark Sonnenblick, an Emmy-nominated writer primarily recognized for his TV and film compositions.

During the film’s production, EJAE served as our guiding light, according to Eisendrath,” he stated. “On the musical front, she was my most integral partner. Not only did she compose the vocal melodies, but she also co-wrote the lyrics and arrangements for four of the songs.

Initially, EJAE, who has a background in songwriting for the K-pop genre, readily adapted to the story-driven focus of the project. As she elucidates, “When crafting songs for KPop Demon Hunters, the plot was paramount.” Every musical and lyrical decision made was aimed at aligning with the emotions of the scene and the characters’ experiences. Our objective was to advance the narrative while also producing a track that possessed the structural and sonic impact characteristic of a powerful K-pop song.

Instead of composing songs for a K-pop band, EJAE changes her focus. She explains via email to TIME that this involves tailoring the song to fit the group’s personality, creating a memorable chorus, and constructing a concept that appeals to a broad audience. A shared characteristic between both is the maximalist approach; whether it’s for a film or for an actual band, both fields use complex layering in vocal production to generate the lush, dynamic K-pop sound we all know.

Eisendrath explains the multiple functions of each song in the narrative while ensuring they are still catchy pop songs. For instance, ‘How It’s Done’ starts off as a story-driven song on a plane, but it quickly turns into an energetic live performance. However, simply delivering a concert wasn’t sufficient; they had to introduce their three main characters. Listening carefully, you can see that each character has their own solo moments during the performance where they express who they are and define their unique personality within [HUNTR/X].

The opening tune of Saja Boys, known as “Soda Pop,” carries a multi-layered narrative. To create this track, the music team aimed to craft a catchy melody that would attract listeners, introduce the individual band members, and suggest their mysterious intentions – all in one song. At first listen, it appears lighthearted with lyrics like “You’re my soda pop,” but as the song progresses, it delves into darker themes of dependency and consumption, creating a parasitic vibe according to Eisendrath.

Right from the start, Eisendrath aspired to break conventional boundaries of K-pop theatrics within animation. As he puts it, “We went all out.” Beyond what’s typically found on a K-pop album, they assembled a massive choir to handle the background vocals. Additionally, a string section was recorded over all the K-pop tracks, resulting in an intricately designed sound that immerses listeners in a grand theatrical mix – a sensation not commonly encountered. Fans can anticipate this immersive experience during sing-along screenings of KPop Demon Hunters on August 23 and 24.

Finding the voice of Rumi

In the animated film “KPop Demon Hunters”, the ensemble cast shines in both speaking and singing roles, yet the character Rumi’s voice resonates as the core of the movie. Her narrative as a demon-hunter concealing her half-demon nature serves as the foundation for the film’s strong thematic content. As Kang explains, “We aimed to explore a story about shame, and we found that this particular theme had not been thoroughly addressed in animation before. It does carry an older audience appeal and has a darker, less joyful tone.

In the drama, Korean-American actress Arden Cho brings depth, warmth, and multi-dimensionality to her character Rumi when she speaks, but it’s EJAE who takes on the demanding task of supplying the idol’s singing voice. As Rumi uncovers her truth through music, this performance is crucial for the entire project. According to EJAE, “Rumi is highly complex. She possesses strong leadership abilities and works diligently. The advantage is she gets things done effectively, but the disadvantage is she sets high standards for herself and strives for perfection. She tends to handle problems alone and rarely discloses her shortcomings or vulnerabilities.

Similar to numerous artists shaping the realm of KPop Demon Hunters, EJAE infused her own background and distinctive viewpoint into the project’s creation. As she recounted to TIME, “I resonate with this because I was a K-pop trainee from the age of 11 for more than a decade before eventually getting released.” During that period, she shared, she felt the need to always present her best self and endured the pressure to be perfect. She recognized the intense desire to conceal one’s imperfections and feelings of shame, as well as the draining effort required to sustain an image of being untroubled rather than seeking aid. Leveraging those experiences, EJAE brought out Rumi’s emotional depth through her vocals.

Initially joining the project solely as a songwriter and supplying demo vocals since its inception, EJAE was eventually invited to become the vocalist for Rumi during the production phase. As stated by Eisendrath, she had not previously considered herself a singer. However, he continued to urge her, “EJAE, your voice is exceptional and unique. You may not wish to do this, but prepare yourself to witness the incredible journey ahead.

In a remark, Eisendrath describes EJAE’s singing range as “extraordinary,” pointing out that she can reach “some of the deepest notes a female vocalist can produce” and notes higher than one would typically find in films. He further states that her performance in ‘Golden’ is astonishing, commenting that he told Spring Aspers, the president of music at Sony: “Prepare for everyone to attempt to sing these songs but fail, as they were specifically composed to showcase EJAE’s unique vocal talents.

In response to being queried about her greatest achievements in the series KPop Demon Hunters, EJAE proudly mentions the songs “Golden” and “Hunter’s Mantra.” Regarding “Golden,” she explains that the melody came to her effortlessly and crafting it helped her uncover her vocal range. She admits feeling both fear and pride for hitting an A5 note in that song, as it marked a self-discovery moment for her. As for “Hunter’s Mantra,” the opening theme from the movie, EJAE drew upon traditional Korean singing style pansori, studying its melodies and vocal techniques before incorporating her own distinctive touch while writing and performing it.

During the production of the music, Eisendrath spent more than 50 hours in the recording studio with EJAE, where he recorded Rumi’s songs. He finds EJAE’s voice to be deeply emotional and captivating, as it carries a sense of darkness, weight, and depth.

Trusting the universal in the culturally specific

Despite being primarily popularized by young viewers, the animated series “KPop Demon Hunters” is exceptionally appealing to a broad range of demographics in today’s streaming landscape where audiences are often fragmented across multiple devices. The show’s success extends beyond cultural boundaries as it currently ranks among the top ten on Netflix in more than 90 countries worldwide.

In a Korean context or otherwise, the film’s narrative and many of its songs carry a universal message that resonates with all viewers. EJAE notes that K-pop served as an effective means to express a profound truth: the significance of embracing every aspect of yourself, including your strengths and weaknesses, and finding beauty in your imperfections and mistakes. This theme extends further to emphasize that people should not feel isolated, but rather lean on their loved ones for support instead of attempting to tackle everything independently.

The universal idea is embodied in the storyline, but the nuanced elements are distinctly Korean. The movie “KPop Demon Hunters”, though an American production, resonates with Korean viewers (and even actual K-pop stars), as they admire the film’s cultural accuracy. Hyun-woo Sun, a co-founder of a well-known Korean language learning platform, Talk to Me in Korean, finds some aspects particularly noteworthy. In his video titled “K-pop Demon Hunters explained by a Korean teacher”, he explains the linguistic and cultural intricacies found in the film, such as recognizable locations like N Seoul Tower, the various meanings of the word “saja”, and the tiger and magpie’s connection to Joseon-era folk art.

In a conversation with TIME, he pointed out two instances from the production that stood out to many Koreans as thoughtful inclusions. Firstly, the decision to let voice actors use Korean dialogue, such as the doctor addressing Rumi as ‘Rumi-nim’, which wasn’t necessary but added authenticity. Secondly, the use of light green dishes in the private jet scene, a common sight in Korea, was another detail that resonated with many viewers. As he explained, “everyone in Korea has seen these light green dishes.” Although other designs would have been acceptable, this specific choice suggested extra effort put into the design by the directors and producers, hinting at personal experiences and fond memories incorporated into the story.

As a movie enthusiast, I’d say: “In the case of ‘KPop Demon Hunters’, it doesn’t explicitly spell out every Korean cultural element that enriches its narrative. Just like when you visit new places, you don’t need someone to explain what a mailbox looks like; you simply observe and accept it. I believe this should be the approach with all films, allowing us to immerse ourselves in the story without constant explanations.

According to Appelhans, he wasn’t concerned because he had previously faced similar, unjustified doubts with the film Wish Dragon. He explained, “People would say, ‘I don’t think the people in Tempe, Arizona will be interested in this very Chinese film,’ given that it was screened outside a major city. But to my surprise, it performed well, and everyone seemed taken aback. Audiences are intelligent, and they seek – aside from perhaps universal story concepts – something unique. They crave fresh tastes. So, it’s delightful to discover something novel, rather than having every movie set in suburban America.

The film’s cultural uniqueness is linked to the realm of K-pop, a genre deeply embedded in Kang’s personal history spanning decades as a fan. As stated by Appelhans, “She has felt and lived the impact of music, understood its significance, and navigated the connection.” This specificity in interactions with fans also stems from her personal experiences.

In its 95-minute duration, KPop Demon Hunters explores a multitude of themes, but its portrayal of fandom as a potent entity-be it used for good or evil-stands out. As Kang states, the movie emphasizes the significance of the bond between idols and their fans because this relationship is unique in entertainment. “There’s a genuine exchange between the artist and the audience,” says Kang, “with immense respect when it’s at its best. For us, the crowd played a vital role in resolving the movie’s climax, contributing to the music and becoming an energy source for the girls.”

A multitude of viewers across various age groups have been drawn by the sense of hope portrayed in that instance. For EJAE, this is one more factor contributing to the lasting popularity of KPop Demon Hunters, both as a film and soundtrack. She notes that recently, few popular songs have focused on hope. However, she feels we’re currently in a period where the world collectively yearns for it. The song “Golden” embodies this feeling, not only through its lyrics but also musically, providing listeners with a chance to pause, regain faith in themselves, and dream once more.

Believing in one’s self

In many top-notch films, the central theme is deeply embedded due to its significance during production. The popularity of KPop Demon Hunters, for instance, appears strongly tied to the confidence and mutual trust Kang, Appelhans, and their team demonstrated in each other, a dynamic that humorously permeates the film’s supernatural plot.

Kang admits, “I’ve always aimed to bring humor into everything I do, and this project is no exception.” She adds, “Comedy has been a constant focus for me since my days in mainstream animation. Jokingly, we’d say that our discussions were funnier than the movies themselves! This was a challenge, yet it set a high standard. With this film, I didn’t want to tone down any of that humor or back away from being a bit peculiar.

In a humorously memorable scene in the movie, the youngest member of HUNTR/X, Zoey, encounters Abby, the most athletic Saja Boy, for the first time. As he stretches, his defined abs catch Zoey’s attention, causing her to gaze at him as if she were seeing corn on the cob or popping popcorn. This occurs when a button unexpectedly detaches from Abby’s shirt, exposing more skin (much like what happens in certain K-pop situations). The joke is effective because it is odd, playful, and smart, but also due to its precise execution and unique twist on a familiar animated style and relatable feelings that viewers might recognize. Despite being rooted in an established animated language and real-life sensations, the moment feels fresh.

In Kang’s own words, “One of the initial jokes in the movie originated from an early concept where Zoey’s eyes appeared to have abs. A member of our character design team pointed out that they resembled corn, and this sparked a flurry of ideas in the room. I continued to advocate for it, even sharing the idea with my husband who is also a director and creator. At first, he was skeptical, but I persisted, and we ended up implementing it.

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2025-08-21 15:07