Work Text:
Feminism and Kpop Demon Hunters:
Why is this Movie Such a Bop?
AlleyCat11424
Archive Of Our Own
Amateur Research Paper
December 15th, 2025
Introduction
Many people watch movies simply for entertainment, never thinking about the messages or values contained therein. However with careful analysis one can see the themes and messages presented in a movie. By addressing dialogue, actions, behavior and lyrics, it can become apparent that there is more in a movie than what meets the eye. Kpop Demon Hunters has a powerful moral of the story, one that shouldn’t go unnoticed. Kpop Demon Hunters shows the heart of feministic values through the breaking of gender stereotypes, the bonds of sisterhood, uniting for change, surviving shame, and winning with love and self acceptance.
Summary
Kpop Demon Hunters has three main characters: Rumi, Mira and Zoey. They are three women who have been chosen to fight demons with the power of song. They are tasked to reinforce the Honmoon, a barrier that seals demons from the human world, turning it gold and sealing it forever. By the start of the movie, their Kpop band, Huntrix, is leading in popularity. Their goals seem within grasping distance.
However, their plans are foiled when a demon boy band, the Saja Boys, join the scene. Their songs weaken the established Honmoon, making stealing souls all the easier. When the leader, Jinu, discovers that Rumi is half demon, he seeks to sway her resolve. Little does he know, Rumi is breaking down his barriers as well.
Rumi, filled with the weight of shame, continues to hide the fact that she is half demon from her two best friends: Mira and Zoey. This weakens their bond and fighting demons becomes more difficult as a result.
In the end, Rumi, Zoey and Mira mend their bond. They accept each other, and more importantly: themselves, for their flaws. They use their love and self-acceptance to build a new Honmoon– a rainbow one.
Application of the Bechdel-Wallace Test
The Bechdel-Wallace Test is an evaluation with three criteria (Oxford University Press, 2018). The first requirement is that there are at least two female characters. The second necessity is that those characters communicate with each other. Thirdly, they must talk about anything that does not pertain to men.
The first example is within the first 5 minutes of the movie. Rumi, Mira and Zoey are on their private jet, allegedly traveling to their upcoming concert. They discuss how many songs are going to be in their concert, the exorbitant amount of calories they will need to complete the choreography, the realities of numbers, and how much they value their fans. They then notice they don’t have water in their pre-show ramen and ask the woman flight attendant for water. Point after point, they have their own goals and motivations aside from men. They hold a practical conversation that reflects the chaotic back and forth between friends.
Another example is when Mira and Zoey are preparing for couch time. Mira “can’t wait to eat kimbap and stare at the ceiling” (12:39-12:43), and Zoey is quick to respond with her plan: “I already picked a movie for us. It’s actually a list of 700 two-second videos I want you to watch all about turtles” (12:44-12:48). Mira responds with “Sounds super boring. I’m so down” (12-49-12:52). The conversation is light and funny with a clear display of their personal interests.
An additional example is towards the very end of the movie when the three of them go to the bathhouse together for the second time. All three of them are very relaxed and relieved. Rumi expresses her comfort and Zoey and Mira affirm all she missed out on. Rumi agrees and is already making mental plans to keep coming back. Zoey expressed how incredibly grateful she is that Rumi didn’t die, and Mira is quick to snark back before simply agreeing.
Zoey starts crying while she explains how much the other two mean to her. This causes a wave of sympathetic crying as the three of them borderline incoherently affirm their love for each other whilst sobbing.
It is a touching scene that remains relatable toward the deep love friendship can hold. They have a deep adoration for each other and can establish, maintain and resolve the communication without relying on the focus of those irrelevant. They are what matter most in their relationship and it shows.
Addressing Stereotypes
Another way to look at a work of fiction is to analyze how stereotypes are broken. Stuhler (2024) made an assessment of 87,531 works in fiction spanning from 1950 to 2010. The observation showed “A consistent pattern: female characters are persistently portrayed as more passive… Suggesting both a reflection of and potential impact on societal norms” (p. 1). He evaluated the significance of characters through five types of action: physical, communicative, perceptive and cognitive, emotional and sentimental, and villainous. He found that in all categories, aside from emotional and sentimental, the action distribution between male and female characters largely favored the former.
Santoniccolo et. al. (2023) reviewed the portrayal of women across television programs, sports coverage, videogames, alcohol advertisements, and print ads. Collectively their descriptions of the various media included statements such as “Overly simplified… Underrepresented… Someone in need of rescuing… Highly objectifying portrayals… Depicting women in non-working, recreational roles…As the queen of the home” (p. 4).
Kpop Demon Hunters breaks gender stereotypes many times within the first 20 minutes of the movies alone. From 3:30-4:00 the three women, Rumi, Mira and Zoey are shown zealously gorging themselves on food. Zoey eats quickly; Mira speaks with food in her mouth; and Rumi consumes large portions in one go.
It is a well known notion that women are to behave ladylike. Merriam-Webster (2025) defines this word as “Traditionally considered suitable to or attractive for a woman” (para. 1) or “Having or showing the appearance or good manners traditionally associated with aristocratic women” (para. 2).
However, the way Rumi, Mira, and Zoey eat on the plane would be considered far from good manners. Additionally, the loud way they belch from 5:20-5:30 would be considered conventionally unattractive. Despite this belief upheld by society, Rumi, Zoey and Mira continue to be unabashedly themselves, whether that means applying make up and fixing their hair while skydiving and fighting demons (7:10-7:20), or “eating kimbab and staring at the ceiling” while watching “700 two second videos all about turtles” (12:40-12:50). First and foremost they do what they want regardless of gender roles. As Adichie (2017) puts it “‘Because you are a girl’ is never a reason for anything. Ever” (p. 14).
Self Identity
The Riot Grrrl genre is a punk movement that occurred as part of third wave feminism. Riot Grrrl music often addressed topics such as discrimination, the will to change the system, and female empowerment. In addition to being a music genre, it became a key part of political activism towards gender equality.
McCann (2019) wrote that the Riot Grrrl movement “Urged female musicians to express themselves with the same freedom as men” (p. 272). More than anything else, Riot Grrrl was the epitome of brazen will to live freely and equally. People of this movement longed to gain back the power that the patriarchy had denied them of, so that way they could stand firm as themselves.
In the movie, KPop Demon Hunters, self expression and the need to exist as you are is a narrative focal point. One of the first songs within the movie is Golden. The song includes many phrases that follow this sentiment such as “I'm done hidin', now I'm shinin'/ Like I'm born to be” (9-10), “Waited so long to… feel like me…And finally live like the girl they all see” (23-26) and “Oh, our time, no fear, no lies/ That's who we're born to be” (21-22). Rebirth and becoming their final representation are repeatedly emphasized within the song. The goal is clear, true authenticity. The waiting, the yearning, the fear, the lies, the hiding, all of them serve as a heavy burden, one that needs to be lifted up so that the main characters can become their true selves. More than anything, they want to be true to themselves.
Phrases like, "There's no I in team," and, "Teamwork makes the dream work," are common phrases that are said for a reason. Art reflects life and life reflects art in the same way. When people emphasize teamwork and unity as a way to gain back power or control in movies, that is because unity and teamwork are important in real life too.
Many assume that feminism is a notion of misandry. However, feminism is not held with the goal to take rights away from men, but rather, it is held with the empowered endeavor to gain back the equality that is intrinsic to themselves. Hooks (2015) states, “We did not bond against men, we bonded to protect our interests as women” (p. 15). Feminism is not an act of aggression, but rather an allyship towards protecting and maintaining the lives of women.
Feminism has made great progress toward equality by acting in their common interests. It is from the unity of people, where feminism increases security and power. It is no small understanding that great change does not happen with a single person, but with many people, when their ideologies align.
Right before the Idol Awards, Mira and Zoey attempt to reach out to Rumi one last time. Mira states, “I know our faults and fears must never be seen, but, look, I’m kind of a difficult person. Overly blunt, short-fused, highly aggressive. My whole life, those things were a liability. But somehow, with you guys, they’re okay” (1:01:50-1:02:08). Zoey follows in kind, “Before I joined Huntrix, I felt like my thoughts and my lyrics and all my notebooks were just useless and weird. But with the two of you, they mean something. I mean something” (1:02:10-1:01:22). Both Zoey and Mira felt like social outcasts. They weren't accepted as who they were; but when they joined Huntrix, their tiny community, they felt like they belonged. They felt like they had value and that they were deserving of love and attention.
Huntrix wasn't just a trio formed to defeat demons, but something that was vital to their own understanding of themselves. With the power of their community, they were able to love themselves deeper and accept their faults because their friends accepted their faults. The unity that they formed allowed them to be truer to themselves. The support they supplied and received was monumental to each other. The value is there in their friendship.
A Lack of Sisterhood is a Deficit for Feminism
To have a strong unity, the members of the group must feel united. They must have a connection with each other. They must understand their common goal and strive for it together. Disagreements can cause rifts in connections as humans.
While it is important to understand people's other points of view, it is also human nature to feel defensive to opposing views. It is too easy to feel betrayed or misunderstood. In order for the power of teamwork to be effective, the common goal or the connection between members must remain at the center, the focal point, the driving force.
Hooks wrote about a series of the hardships of sisterhood. One of which was how feminism took a blow when, “A large body of women simply abandoned the notion of sisterhood” (p. 16). They did this because “The fierce negative competition between women” (p. 16) made them feel betrayed by one another. When women are pitted against each other due to patriarchal or capitalistic narratives, it weakens feminism as a whole. When a minority is filled with in-fighting, it detracts from the focal point: the goals and connections of all members.
Throughout KPop Demon Hunters, Mira and Zoey are both concerned for Rumi, in addition to being suspicious of her behavior. They don't understand the full story, therefore they cannot empathize. While Mira, Zoey, and Rumi are on top of a moving train, ready to fight demons, Mira tries confronting Rumi. She states, “Seriously, what is your problem?...I’m not talking about the song, I’m talking about you! Why are you questioning everything we stand for when we’re so close to sealing the Honmoon?”(53:20-53:33) This point is brought up not just because Rumi keeps showing hesitancy towards the songs they are writing, but because Mira's greatest priority is finding out why there is a disconnect between Rumi and herself. She is concerned as to why Rumi is giving pushback– not just the push back itself.
Later, after all three had defeated the demons on the train, Mira states “Whatever you think about the song, it doesn’t matter now. Everything is at stake, and we just need to get through this together”(54:55-55:02). Zoey follows up with “You know I’m always on your side, but it’s really hard to understand this time. We can’t win this without your voice, Rumi”(55:05-55:15). Both Zoey and Mira are trying their best to maintain their relationship, to keep the communication going. They both want to know the cause for the miscommunication. They want to feel confident in their relationship again.
However, Rumi continues to put up walls and hide what's most important. Mira and Zoey both desperately want to continue working together, but are at their wits' end, when communication continues to fall through again and again.
Later, when Zoey and Mira see Rumi’s patterns after the Idol Awards, they feel betrayed and refuse to see reason. They don't hear Rumi out when they discover scraps of the truth, and their connections are temporarily severed. To them, Rumi is a demon and deceived them. The rift between them thoroughly diminishes the power they wielded when together. As a result, they can't defeat their adversaries or save humanity anymore.
The Effects of Systemic Shame
Many women have had the unfortunate experience of having their personality or behaviors stifled. Many women have been discouraged for the manner in which they act. Many women have been taught and molded into what society deems an acceptable representation of a woman.
Adichie recounts “A young Nigerian woman once told me that she had for years behaved ‘like a boy’...her mother forced her to stop her ‘boyish’ interests… I wondered what part of herself she had needed to silence and stifle… what her spirit had lost” (p. 18). It is unfortunate that people have lost parts of themselves due to the rigid roles that society enforces based off of superficial matters such as gender.
Gender and sex is something that cannot be changed and is intrinsic to the way that people exist. Similarly Rumi had no part in the making of what she is. She is a half demon, not by choice but by existence. She was simply born that way and can do nothing to diminish that fact.
However, the way Celine taught Rumi growing up, the rules and notions in which Celine installed were detrimentally tailored to shame Rumi for her demon attributes. It is a vile reality that many are taught that behaviors or appearances are intrinsically bad because of the way that they were born.
Sentences like, "Cover that up,” are not new, and are commonly spoken to women who are told that their shoulders are distracting in class. It is an oppressive, yet expected phrase. When Celine states “Cover those up” (17:48-17:50) in reference to very young Rumi’s patterns, it is especially devastating. Especially when it is so clear that the shame that Rumi holds runs very deep.
Additionally, Celine’s rhetoric isn’t just an influence to Rumi. Zoey clearly quotes Celine with the line “Your faults and fears must never be seen” (20:20-20:42). Worse over, this phrase is not met with contention, but instead, Mira commends Zoey on how accurate the impression was, before agreeing with the order.
Towards the end of the movie, Rumi confronts Celine. She no longer can try to find peace with Celine’s teachings. Instead, she wants to know what made her so unlovable and why she was taught to believe she was a mistake. She voices, “This is what I am. You knew I was a mistake from the very start. Do what you should’ve done a long time ago.” (1:13:03-1:13:18). She states this before offering a sword so that Celine can end her life.
Celine denies this request before affirming her conviction with “Everything I was taught told me you were wrong, but I made a promise. So I did my best to accept you and help you” (1:13:42-1:13:53).
Rumi is outraged with this answer and points out the inaccuracy. “Accept me? You told me to cover up, to hide” (1:13:53-1:13:57). When Celine won’t properly listen to her, nor look in her direction, she cries out, “Look at me. Why can’t you look at me?! Why couldn’t you love me?! All of me!”(1:14:18-1:14:27).
These lines are heavy to hear. It is hardly ever a guardian's goal to hear their child ask for death and clearly point out the parent’s failure– how unloved they were made to feel. Regardless of intentions, teachings so often fail and have accidental consequences. Shame is too easy to fall into when a person’s attributes are clearly discouraged and forced to be repressed.
The Rebirth of Acceptance
When hardships come, it is reasonable to rely on what has worked in the past. When unity has strengthened minorities to invoke change, and when the sentimental bond has worked for Rumi, Mira, and Zoey to provide support in times of need, then it is a logical conclusion to reform that connection. Rumi announces her mistakes, pointing out where her effort failed her. “I tried to fix it, I tried to fight it/…I don’t know why I didn’t trust you to be on my side” (5-8). She understands now that the walls she imposed between her and her dearest friends were a critical error. She knows better now; she needs the support of Zoey and Mira.
In reference to the trying times in the current sociopolitical climate, Hooks spoke clearly of what she believes women need. She believes that to continue the goals of the early feminist movements, they must create “A renewed commitment to political solidarity between women” (p. 17). Solidarity is the key.
Learning from one’s mistakes, going back to the start, reflecting on one’s strengths and weaknesses, and coming out new and better for it is a key focus of Wong's (2015) work: In Search of the Self as a Hero: Confetti of Voices on New Year's Night, A Letter to Myself. She speaks on how acknowledging one’s self and identities, one can find themselves as their “Own accessible hero” (p. 177).
She clarifies becoming this hero as a new birth. She says that from the harboring of the past to the fighting of instilled notions, one can become “Triumphant and resolute” (p. 179). This rebirth– this reforming of one's self, is a deep understanding of identity, relations, priorities, and aiming for what she states as “For the love that is possible” (p. 179).
At the end of K-Pop Demon Hunters, Rumi, Mira, and Zoey do just that. They no longer tear each other down and fuel themselves on hate; instead, they mend their bond to support each other. They move forward with love for each other, love for the world, and love for themselves.
The lyrics from This Is What It Sounds Like are harrowingly reminiscent of Wong's own work. Zoey states, “Why did I cover up the colors stuck inside my head?” (13). Mira follows with, “I should've let the jagged edges meet the light instead.” (14). Both are reflecting on how they hid their own insecurities and shame. They now understand that the solution from the start was always to bring these burdens to each other and give each other justice and space for their own emotions, therefore strengthening that bond.
Together, Zoey, Mira, and Rumi all sing, “When darkness meets the light, this is what it sounds like” (52) In that line, they are acknowledging their internal shame and choosing to let it go, embrace freedom and identity, and love each other. They look forward to the future, literally reforming the world with a new harmoon, one that is made of love. They take their darkest parts and bring it into the light, lifting up that weight, and accepting each other for who they are.
Hooks concludes her points with an impactful notion: “We have the good fortune to know everyday of our lives that sisterhood is concretely possible, that sisterhood is still powerful” (p. 18). That power that sisterhood offers mustn't go neglected or unnoticed. It is there to be utilized. It is there to support. Every day people have the option to love each other, bring each other up, and fight for a better future, and that is just what Rumi, Zoey, and Mira do.
Conclusion
Kpop Demon Hunters shares the core values of feminism through the broken gender stereotypes, unity and connection, the fight for a better world, the perseverance through shame, and the choice to love one’s self and others. The principles of Kpop Demon Hunters are a valuable lesson that should be considered and absorbed. Not all movies should be consumed passively. Some movies, like this one, grant a higher value when the writing and scenes are evaluated. But at the end of the day, it is entertainment, it is meant to be enjoyed. Thankfully, Kpop Demon Hunters supplies in that department as well.
References
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