By Mark Lee
Netflix’s K-Pop Demon Hunters is a global smash: 33 million views in two weeks, a Billboard-topping soundtrack, and fictional K-pop bands charting higher than BTS and Blackpink. At first glance, it looks like a win for Asian representation. But beneath the glitter and high notes is a story built on the same tired script—one that lifts up Asian women while pushing Asian men aside.
The film centers on Huntr/x, an all-female, Asian K-pop group who moonlight as demon hunters. They’re stylish, confident, and heroic. Their enemies? Saja Boys—also Asian, also idols—who’ve been possessed by evil spirits. They hardly speak. They don’t resist. They’re simply the problem to be eliminated. The girls are the stars. The boys are the threat.
Even the title does the work: K-Pop Demon Hunters. The “demons” are literally Asian male pop idols. The hunters are glamorous Asian girls. This isn’t a metaphor—it’s the plot. The message lands hard: Power comes from defeating those who look like brothers, classmates, and peers. That’s not progress. That’s narrative dehumanization disguised as empowerment.
And it didn’t have to be this way. The villainous group could have been anyone—a rival girl group, a corporate overlord, or even non-human monsters. But the creators chose to make the villains Asian boys. In a film about pop stardom, the decision to turn Asian male idols into literal demons wasn’t a storytelling necessity—it was a deliberate framing. It reinforces the idea that Asian men are the ones to be feared, silenced, and taken down.
And it isn’t new. This is the evil Fu Manchu racist stereotype in a K-pop jacket. The demonized Asian male has long served as a convenient cultural—exotic, threatening, voiceless, and disposable. A century ago, he was the Fu Manchu character, a sinister, mustachioed mastermind out to corrupt the West. Now he’s a boyband villain possessed by evil, there to be punched, or destroyed. Same idea, new
packaging. Even as aesthetics change, the structural message remains: Asian masculinity is expendable.
This dynamic mirrors what appeared decades ago in The Joy Luck Club, hailed as a breakthrough in Asian American storytelling. That film gave Asian women emotional depth and individuality, but cast the Asian men as cruel, passive, or useless. That imbalance has persisted across generations of media. K-Pop Demon Hunters just updates it with sharper visuals, feminist branding, and global reach—but the framework is familiar: elevate the women, erase the men.
Demon Hunters was co-directed and co-authored by Maggie Kang, a Korean American filmmaker. But representation behind the camera doesn’t guarantee fairness on screen. Kang’s film still reflects a white-centered framework: Asian girls get to be modern, powerful, and relatable—while Asian boys are cast as voiceless threats, as demons. This isn’t a coincidence. It shows how deeply market-driven racial coding operates—even Asian creators may absorb and reproduce the same narratives that make certain identities “marketable” and others expendable.
And it doesn’t just misrepresent—it distorts. In reality, K-pop male groups are not marginalized villains. They’re global icons. BTS, EXO, Stray Kids—these artists are admired across cultures for their emotional range, choreography, and charisma. Reducing them to corrupted, silent antagonists isn’t world-building—it’s bias. These boys don’t need to be torn down to make room for someone else. Making them villains was a choice.
Anti-Asian racism has always had its peculiar dynamics. Asian women are often portrayed as desirable or exotic—a lens that opens doors, particularly in industries dominated by white gatekeepers. Visibility becomes opportunity. But often, that opportunity comes with a cost: align with white norms, reinforce white expectations, and accept a version of success that requires Asian men to be diminished. The result? Asian women become stars. Asian men become obstacles, servants, or ghosts.
The one male character with romantic significance—Jinu, Rumi’s love interest—who is built up as the ideal man: strong, handsome, protective, and emotionally vulnerable, but who in the end gets cut down. He also has a noticeable foreign accent, while the female leads have no accents—signaling that he’s still “foreign,” in contrast to the females. Once again, it is the man that is the “othered” foreigner while the women are more relatable. His storyline dives into self sacrifice: he dies to save Rumi and humanity, merging his soul with hers so the girls can prevail. That ends his journey—not as a leader or survivor, but as a fallen support figure. Even the one who seemed destined to matter is eventually terminated.
And it didn’t have to be this way either. Jinu could have lived. He and Rumi could have fought side by side, survived, and shared in the victory. But instead, the same pattern repeats: the Asian male boy band is evil, the one good and attractive Asian man is idealized and then eliminated, and the only other major male presence—the group’s manager, voiced by Ken Jeong—serves mostly as comic relief. Even though his title is “manager,” he functions more like a servant—loud, emotional, clownish, and never heroic. Another box checked.
There is of course no issue with movies having strong female leads. Asian women deserve complex, heroic roles, just as Asian men and others do. The problem isn’t in elevating one group. It’s in doing so by diminishing another—especially when that “other” is predictably the same.
Some may dismiss this as “just a movie.” But stories shape perception. People absorb symbols and archetypes more than facts. Cultural images influence how groups are seen—who is cast as safe, desirable, or powerful, and who is marked as weak, dangerous, or disposable.
This extends far beyond the screen. It affects hiring, leadership, and social trust. People are drawn to symbols that “feel” like strength—and if popular media keeps portraying Asian men as monsters, jokes, or martyrs, those associations don’t stay in the theater.
This isn’t just one film. It’s a pattern. A pattern where Asian women rise by aligning with white expectations—confident, empowered, and unpaired. A pattern where Asian men exist only to fall, support, or vanish. A pattern that pretends to be “representation,” while keeping the same hierarchy comfortably in place.
Representation without balance isn’t progress—it’s propaganda. And there’s already talk of a sequel. Maybe this time, a new story will emerge. Or maybe Maggie Kang will just double down on the theme that’s worked so well for her: throwing Asian men under the bus.
As a 40 something asian male, I think part of the reason is us perpetuating these stereotypes. We do it to ourselves. If we were loud, annoying, obese, smelled funny all the time, that would be our stereotype.
Maybe it’s because I watch a lot of C and K dramas, but I don’t see what you are seeing. I can think of numerous heroic men from those shows who are strong, intelligent, and resourceful. Perhaps rather than denigrating a show about strong Asian women, you should tell us about shows that people would love that celebrate the Kpop men. I can think of two: Run, BTS, and SKZ Code. Real boy bands in a variety show, and the guys are entertaining as all get out. Available for free with English subtitles on YouTube. Readers could also watch Behind Your Touch on Netflix. It’s a dramady about a young vet who develops ESP and finds herself working with a grumpy (but swoony) cop. Added benefit is that one of the idols from EXO plays a significant secondary character. Consider Kim’s Convenience, a comedy series set in a convenience store.. Or tell us about some anime that has great male characters.
Just my .02, but if you want to see more Asian male representation, recommend the shows/movies that do it well over tearing down one that so many people love. And Jinu’s accent is sexy, not otherizing, and his sacrifice is not just noble but a perfect conclusion to his 400-year story arc.
This really sounds like a parody of something from Asian incel boards. Ahn Hyo-seop is a wonderful K-pop actor who grew up in Canada and maybe has a slight accent but it was utterly charming and made Jinu more human. You sir are a idiot and its embarassing NW Asian Weekly posted this garbage.
I barely noticed the accent and thought it made him sexier, not “other”. But I’m not a racist. . . .
I’m a 60+ white dude currently living in CO, USA – I LOVED this movie!!! All I can see from your commentary (aside from the click-bait” potential of trashing something popular) moves me to one comment “lighten up!” In my mind, this elevates Korea & Korean culture – the mythology & symbolism (doing a bit of research into the why/how this was made) are powerful. In global culture (the world of today) seeing such a well put together film, great characters, deeper arcs of story & harnessing “K-pop” (the global music style leader at the moment) is impressive! Of all things, this reminds me of “teenage mutant ninja turtles” a concept that seems created on napkins over several rounds of drinks at a bar but lo & behold became a smash unexpected hit! K-Pop Demon Hunters is far more creative & resonant than TMNT – not to mention the animation superiority… anyway, thanks for something to react to – in this case, you did succeed (even if I disagree with vigor)
It depends on the iteration of TMNT you watch/read. The most recent one had themes very similar to this, only told from the outsider’s perspective.
As an Asian man, this is such an extreme stretch and reeks of jealousy. You said, “It reinforces the idea that Asian men are the ones to be feared, silenced, and taken down,” is very tone deaf and showcases your inability to think critically beyond your own, personal lens. Does the 4B movement represent nothing? The portrayal of Asian women in media is just as bad as Asian men – if not more (see: 4B movement). The movie is about Kpop. Are there not male Kpop groups? Do they not exist? In the movie, the whole premise (around the Saja Boys) was that Jinu had an idea to beat Huntrix – by literally stealing their thunder and their fans. Just as you can stretch your claim that this movie “throws Asian men under the bus,” I highly suggest you (1) look inward, because you truly seem out of touch, and (2) look at the movie more critically, not through a patriarchal lens. Why can’t the movie represent Asian women (especially Korean women during the 4B movement) fighting for themselves? Why can’t it be seen as, “there are toxic and unkind people in the KPop industry – many of whom try to exploit all-girl groups, so here is a movie showcasing Asian women excellence.” Also, what Asian men are getting thrown under the bus? The (clearly) very attractive portrayals of Asian men (which after historically being portrayed as a joke and desexualized in mainstream media) is so refreshing. The range of Asian men they represent – a group of Asian men, excited about going to a concert together. A group manager who is a hilarious, great representation of queer Asian men. An Asian man (Jinu) as one of the main characters, who everyone falls in love with (viewers especially) and cry over. Not to mention the Saja Boys are hitting top charts on music billboards.
Also, saying this “In reality, K-pop male groups are not marginalized villains,” while also claiming that Asian men are silenced and vilified is contradictory. A movie that highlights Asian women during a time when Asian women are heavily marginalized (see: 4B movement & bodily autonomy all around the world) is amazing, and your ability to frame it as “hating on men” is extremely embarrassing and lacking of empathy or basic critical thinking and is exactly why there is a “male loneliness epidemic.”
Also, your claim, “Asian women are often portrayed as desirable or exotic—a lens that opens doors, particularly in industries dominated by white gatekeepers,” framing this as a “lens that opens doors,” in response to years of hyper sexualization and sexual abuse Asian women have experienced from ALL types of men is disrespectful. AND if we follow YOUR train of thought, then I can claim, “Asian men are often portrayed as emotionless, sexless robots – a lens that opens doors, particularly in academic and professional industries (tech, coding, finance, just a few professions that are male dominated with an uptick in the amount of Asian men) dominated by white gatekeepers. I hope you know you can call out whiteness without devaluing Asian women’s success as “white-centered framework.”
Another point, this claim, “it affects hiring, leadership, and social trust. People are drawn to symbols that “feel” like strength—and if popular media keeps portraying Asian men as monsters, jokes, or martyrs, those associations don’t stay in the theater,” is so wrong and unbelievably tone deaf. This claim is factually wrong. Look at statistics from literally all around the world. Asian men are almost always at the top when it comes to career, leadership, and professional aspirations. This is a statistical fact, that within the employment world, Asian men are almost up-to-par with their White men counterparts. Please do your research before you make baseless, wholly inaccurate claims.
TLDR: All of your points is exactly why this movie was made and why this movie exists as it is. Men like you who assume to be speaking for all Asian men is why its so important to have a movie like this. If you have a problem with the racial framing/proximity to whiteness, that is your perspective. This is like watching a movie about slavery, and white people getting mad of how white people are portrayed in the film. This is a movie that highlights women empowerment and sisterhood, and the movie utilizes plot-devices such as a “Foil” (in media, a “foil” is a character who contrasts with another character, usually the protagonist, to highlight specific traits or qualities). The film utilized an age-old storytelling strategy by implementing literal opposites to our protagonists. Your claim, “the decision to turn Asian male idols into literal demons wasn’t a storytelling necessity—it was a deliberate framing,” is unfounded and has literally no evidentiary support. Notice how throughout the film, they kept saying things like “demons have feelings too” and how demons “feel shame all the time,” and in a lyric, “when your patterns start to show, I see the pain that lies below,” is all a metaphor for how men are allowed to feel shame. How they are allowed to feel their feelings and they don’t have to be ashamed. They showcase this in the manager expressing himself fully and authentically. Rumi literally realizes that, hey, demons feel too. They feel hurt too. They humanize demons that aren’t trying to kill them. It seems like your claim that “Asian men get thrown under the bus,” is only valid if you believe that there is only one way a man “should” act. I saw an Asian man (Ken Jeong – also a man who frequently portrays Asian men as humor points, yet I don’t see you claiming that he throws Asian people under the bus), in a position of power, supporting women, and expressing himself authentically and fully. That man doesn’t seem to be thrown under the bus – I loved him. The groups of men at the concerts with their friends, crying and full of excitement for a concert? Doesn’t seem like they were thrown under the bus. I loved that representation of Asian men as being able to enjoy things that “women typically enjoy,” and being able to cry/express emotions with your “bros” at an event you all find joy in.
You know what did get thrown under the bus? Traditional, toxic, patriarchal ways of being a man. That is the “Asian men getting thrown under the bus” that you are referring to. If you don’t enjoy the other portrayals of Asian men (in a movie CLEARLY centered around Asian women), then that’s fine, but you can’t claim that they threw Asian men under the bus just because you don’t think the other portrayals of Asian men are appropriate for YOU.
*I also want to highlight that it is extremely hypercritical for you to be upset about Asian men being portrayed as demons, when within the same commentary, you say “The villainous group could have been anyone—a rival girl group, a corporate overlord, or even non-human monsters.” How come, in your eyes, it would’ve been fine to have a rival demonic girl group? Seems incredibly sexist and hypocritical to include this suggestion in an article about Asian men being thrown under the bus. So Asian women are okay to throw under the bus? Women fighting other women? A trope that men love so much and has been historically utilized to pit women against each other*
If you are going to write a critique because you want to highlight the importance of Asian men in media and how they are (in your opinion, poorly) utilized within plots, maybe your piece shouldn’t include you trying to throw Asian women under the bus in order to make your point – it ruins your credibility and suggests that this critique is rooted in sexism, rather than valid and rooted in representation and equity.
As an Asian man, voicing how Asian men have been mistreated in media is so important and very necessary. However, if in order to do so, you undermine accomplishments of women-centered media, then your criticism is not is not rooted in fairness, equity, or equality at all. If that is your goal, this article was not the way to do it (at least in the way your argument was navigated). Right now, you are the only one throwing Asian men under the bus with this article. Companies don’t have to “throw Asian men under the bus” when they do it themselves (you are evidence of this). Do you know how many movies have powerful Asian male leads with an “evil Asian woman counterpart” (ie. Eleanor Young, O-Ren Ishii, Empress Ulanara Yixiu, Yubaba, Sadako, Li Chang Ru, Jobu Tupaki, etc. – these are just a FEW of MANY), because I’d like to see your fight for equitable, fair Asian representation there.
As an Asian man, please do better, because this article just reads as “me, me, me…. but what about me :(” God forbid a movie highlighting how Asian women are treated and seen in the industry (in which they are historically mistreated by MEN) isn’t about men or about how great Asian men are(???) The MEN who watch and resonate or aspire to be like to Jinu are the ones who are celebrating the success of this film. The BOYS who are upset about 4 fictional demons dying are the ones who would’ve been a part of their band as a demon. Don’t be like the Saja Boys – be like Jinu.
“A pattern where Asian women rise by aligning with white expectations—confident, empowered, and unpaired.”
So are confident, empowered women a white thing? How is this quote you said not feeding into what you’re complaining about?
Did he even watch the same movie? lol
“Their enemies? Saja Boys—also Asian, also idols—who’ve been possessed by evil spirits. They hardly speak. They don’t resist.” (did you not see the fight scenes?)
They’re demons cosplaying as human boys, not the other way around. Why don’t you ask yourself why the demons would rather portray men than women (Hint! Maybe because it isn’t too far from the truth)… mans really didn’t watch the movie closely and then wrote a whole article about it lmfaoooo true incel behavior
Typical Asian male incel bitterness.
My 10 paragraphs boil down to this one sentence.
brevity is the soul of clarity indeed 🙂
Hi iv watched the movie many many MANY times and it really shows both side the girls have the own issues Mira is very insecure Zoey is a people pleaser due to divorced parents and Rumi shes a demon and deals with self acceptance issues so really both groups have problems