{"id":171846,"date":"2025-10-10T10:00:09","date_gmt":"2025-10-10T14:00:09","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=171846"},"modified":"2025-10-09T13:30:22","modified_gmt":"2025-10-09T17:30:22","slug":"slipping-away-from-myself-at-the-kpop-demon-hunters-sing-along","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2025\/10\/10\/slipping-away-from-myself-at-the-kpop-demon-hunters-sing-along\/","title":{"rendered":"Slipping Away from Myself at the KPop Demon Hunters<\/em> Sing-Along"},"content":{"rendered":"
\"\"

Photograph courtesy of the author.<\/p><\/div>\n

I recall that the young man I was last month had forgotten who he was. Despite his general preoccupation with his own thoughts and feelings as well as his acute self-consciousness about being where he was, the young man had, at some point during the KPop Demon Hunters <\/em>sing-along event, slipped away from himself. It was an easy thing to do. The theater, after all, was dark. And then there was all that light and sound. It was difficult to tell where it was coming from. Words and songs in English and Korean came from the screen, and they came from everyone around the young man, and they came from the young man himself. In the lovely confusion, the young man lost track of his identity. He was a movie character, and he was also a superfan evacuated of individuality by the sheer force of his love for the movie character of himself. When the lights came back on, the young man knew it was time to retrieve his identity, so he looked down at his outfit of identity markers. Oh duh. I was wearing my blue NewJeans shirt in a kind of deliberately unironic way, which, I reasoned insightfully, seemed to be an expression of my unique personal taste and highly sophisticated yet wholly unpretentious aesthetic intuition. And as the young man I then was, I recall thinking I must be, therefore, myself. I was happy about that, but also sad. Evidently a person can be two things at once.<\/p>\n

KPop Demon Hunters <\/em>begs to differ. If you\u2019re not yourself, I learned at an 8:30 P.M.<\/small> sing-along in suburban Southern California, everyone will die. This message has resonated with a huge percentage of the global population, and in just three months the film has been streamed for over 540 million hours, according to Netflix\u2019s trustworthy self-reported data. Of course, the current popularity of KPop Demon Hunters<\/em> is, in the most basic sense of the word, a phenomenon: something you can see. And surely you have seen it. The real-world performances, the dance trends, the covers, the cosplay, the two days of worldwide theatrical sing-along showings of the film with karaoke-style subtitles, which were, at least in my theater, completely useless\u2014we already knew every line and lyric by heart.<\/p>\n

The situation is this. Demons are trying to take over the world. For centuries up until now, humans have been protected by successive trios of Korean girls, who, by the power of stan culture, maintain a magical barrier called the Honmoon, which separates the demon and human realms. Today, the K-pop girl group HUNTR\/X is one hit single away from rendering this barrier permanently impenetrable and thus defeating evil for good. Unfortunately, the demons have come up with the genius idea of assembling a sexy demon boy band and stealing HUNTR\/X\u2019s fans. Also unfortunately, Rumi, the main vocalist of HUNTR\/X, has not been completely true to herself. Like the half-Australian NewJeans member Danielle, Rumi is not totally Korean. She\u2019s actually half demon, and harboring this secret has made it impossible for her to authentically express herself through song and dance. \u201cNow I\u2019m shining,\u201d she sings, \u201clike I\u2019m born to\u2014\u201d On the final note, our secretly biracial heroine\u2019s voice falters and breaks.<\/p>\n

Eventually, Rumi learns that to make good art and\/or ease the vague ceaseless pain caused by the intrinsic structural contradictions of human consciousness, you just need to be authentic. Being authentic means there is no Honmoon between who you are and who you appear to be. Thus, the film tells us, you should be yourself. This is kind of like the BTS of advice, which is to say you have probably heard it before. If you are a Shakespeare character named Laertes, for example, your dad Polonius may have famously told you, \u201cTo thine own self be true.\u201d Similarly, if you are, like myself, an ethnically ambiguous filmmaker in California, someone who interviewed you for a stupid grant or whatever may have told you, \u201cI\u2019d love to hear more about your personal connection to this story.\u201d<\/p>\n

But that night, in the Regal Alhambra Renaissance theater\u2014a multiplex chain location that has nothing to do with regality, thirteenth-century Islamic architecture, or the Renaissance\u2014we weren\u2019t so sure about the value of authenticity. We were, after all, wearing costumes. Nearly every object and article of clothing that appears in KPop Demon Hunters<\/em> can be purchased from the Netflix Shop, and we in the audience were brandishing our merchandise: Mira\u2019s polar bear sweater, Zoey\u2019s bucket hat, Rumi\u2019s choo-choo pajama pants. And we were\u2014probably due to the cinematic \u201capparatus\u201d and the specific sociocultural context in which it was flickering that evening\u2014experiencing a bit of spatial, ideological, and metaphysical confusion. When the demons appeared onscreen to perform their deceitful, inauthentic pop song for us, we screamed and sang along.<\/p>\n

Still, perhaps KPop Demon Hunters <\/em>is on track to become the most popular film ever made because its director, Maggie Kang, was careful to ensure the authenticity of her work. Kang told The New York Times <\/em>that, at Sony Pictures Imageworks, \u201cwe had a whole Korean committee watching out for authenticity.\u201d Ironically, the idea of a multinational conglomerate assembling a special team to supervise the aesthetic and cultural minutiae of one of its products is, like, very authentic to K-pop. More broadly, however, it doesn\u2019t really make sense to apply the logic of authenticity to an animated K-pop movie. Though it is relatively obvious that K-pop is a novel form with its own rituals and unique language, it\u2019s also obvious that the fundamental operation of K-pop is that of imitation. In my favorite song by Meovv (a real girl group that also exists in the diegesis of KPop Demon Hunters<\/em>) there are lines like \u201cHear dat bass drum, \/ wons and yens and dollars \/ comma, comma, comma.\u201d Clearly, these lyrics are artificial and mimetic, rather than an accurate reflection of the way teenage girls in South Korea actually speak\u2014except, of course, when they are singing and dancing along to a Meovv song. This type of inverted, self-generating vision of authenticity is, I think, what makes K-pop so great: it stylizes, distorts, and imitates reality in ways that compel reality to imitate it in turn.<\/p>\n

French theorists, like K-pop idols, know that we establish our identities via a kind of fucked-up process during which we think we are things we are not, such as images and other people. Identification is \u201cthe transformation that takes place in the subject when he assumes an image,\u201d says Lacan. \u201cNow you speak French, \/ talkin\u2019 \u2019bout ‘we,’ \u201d sing Meovv. This understanding of identity as the result of an imagined otherness is more or less incompatible with the notion that an artwork, person, or anime-ish demon hunter ought to be authentic. Luckily, KPop Demon Hunters <\/em>is, like identity itself, a contradiction. Its directive to embrace your one true self is contradicted by the social, participatory experience of watching it, which reminds us that all identity is choreographed, lip-synced, and made-up.<\/p>\n

My identity position, for example, was made up like five years ago by teenagers on TikTok. As I exited the sing-along sipping the last of my girlfriend\u2019s Dubai chocolate \u201cIt\u2019s Boba Time\u201d drink, I declared that, like me, Rumi is \u201cWasian.\u201d I am drawn to this dumb Zoomer term because it can describe a person who is white and Asian as well as a white person who is overly obsessed with Asian culture, and I like the idea that identity can be about taking pleasure in your idea of someone else\u2019s fantasy about you, rather than your experience of your own boring life. Being a person in this way is fun and scary and full of slippages, like singing a song you only kind of know at karaoke.<\/p>\n

In the immense concrete parking structure outside the theater, the song I was singing was \u201cGolden\u201d by HUNTR\/X. \u201cI\u2019m done hiding, \/ now I\u2019m shining \u2026\u201d As my voice echoed away from and back to me, I realized Rumi\u2019s climactic line is secretly agrammatical, for she says that she is, at last, \u201clike I\u2019m born to be.\u201d Normally, we speak of being born in the past tense\u2014”I was <\/em>born to be,\u201d not \u201cI am <\/em>born to be\u201d\u2014but when you\u2019re cosplaying a character or cosplaying yourself, perhaps it\u2019s more authentic to say that the moment you became the person you are was, and will always be, right now.<\/p>\n

 <\/p>\n

Julian Castronovo is a filmmaker and writer. His film<\/em>\u00a0Debut, or, Objects of the Field of Debris as Currently Catalogued\u00a0will be released by MEMORY in October 2025.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

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