South Korean president Lee Jae Myung had his work cut out, picking up his drumsticks alongside Japanese PM Sanae Takaichi, a former heavy metal drummer

If international diplomacy is as much about tone as substance, the leaders of South Korea and Japan seem to have nailed it.

In a scene few anticipated, South Korean president Lee Jae Myung and Japanese prime minister Sanae Takaichi spent the last moments of a crucial summit seated behind matching drum kits in matching blue uniforms as they bashed out hit song Golden from Netflix’s K-Pop Demon Hunters and BTS’s Dynamite.

Both industries dominate the world but now face fundamental transformation and uncertainty at home

South Korea’s entertainment dominance appears unshakeable. From BTS conquering global charts to Parasite sweeping the Oscars in 2020 and Korean dramas topping Netflix, Korean popular culture has never been more visible. Exports driven by the country’s arts hit a record $15.18bn (£11bn) in 2024, cementing the country’s reputation as a cultural superpower.

But inside South Korea, the two industries that helped build the Korean Wave – cinema and K-pop – are now experiencing fundamental transformations, with their survival strategies potentially undermining the creative foundations of their success.

Big K-pop stars and a teen-skewed subtext aims this squarely at a particular audience but this fantasy never really levels up

Starring the actor (Ahn Hyo-seop) who voiced the lead boy-band bad guy in KPop Demon Hunters, and one of the singers (Kim Ji-soo, also known mononymically as Jisoo) from real-world girl-band Blackpink, this Korean sci-fi-fantasy feature feels very skewed towards the young on all counts. Superficially, it appears to be about a guy named Kim Dok-ja (Ahn) who finds that the web novel he’s been following for years is turning into reality. That means the whole world becomes gamified, as if everyone has been turned into players compelled to kill to survive, while plagued by CGI monsters and puckish digital dokkaebi (demons) which explain things when the rules change.

But under the surface, this film is really about being popular, coping with traumatic childhood experiences such as being forced to beat up your best friend, getting a pimple, and building up enough gumption to tell authority figures – older people, your boss, the author of the book you’ve been a fan of for ages – that they suck.