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SB Mid-Year Review, 2024: Leading Debuts Reflect Industry Disruptions
Join the Seoulbeats Writing Team!
“Supernova” is Campy, Chaotic, and Peak Aespa
Unsung Artists: February 2024
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Music
SB Mid-Year Review, 2024: Experimentation and Storytelling Stand Out in Albums
Dreamcatcher’s “Justice” Struggles with A Cohesive Topic
Red Velvet Play It Safe in “Cosmic”
Jaejoong’s “Flower Garden” Never Quite Reaches Great
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Music
Idols
Screen
The Midnight Studio: Tackling Death with Choice
Marry My Husband Attempts to Seduce 4B Feminists with Promises of Girlboss Success
A Shop for Killers: Rich in Secrets and Action
My Demon: Choices and Consequences
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Park Min-young
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Lee Dong-wook
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Kwon Nara
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Kim Hye-jun
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Film
Drama
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Culture
Boys Planet: The End of “K-pop” As We Know It
Ageism and Age Bias in K-pop
Kim Garam and the Power of Fans in Shaping Idol Narratives
Pandemic Blues: The Struggle of Small Companies and Idol Groups
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Seoulbeats Segments
For Your Viewing Pleasure: Sunshine & Rainbows
SB Mid-Year Review, 2024: Bold Imagery is the Name of the (Female-Dominated) MV Game
For Your Viewing Pleasure: Chaos in Colour
Week in Review, 7/8 to 7/14
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Home
Op-Ed
Op-Ed
Rain’s Reception at KCon is Complicated Like His Legacy
The Netflix K-drama Formula: How the Global Platform is Helping Redefine the Genre
The Renaissance of the Second Generation
A Closer Look: the Korean R&B Scene and the Rise of Baekhyun & Kai’s K-pop R&B
Reflections of a K-pop Fan in Early 2010s London
In Defense of Noise: SM Future Sound and Red Velvet
For Your Consideration: Are the MTV VMAs Catering to K-pop?
Naver’s News Manipulation: Compromising K-pop’s International Fanbase?
Jang Jaein’s Exposure of Nam Taehyun: Justified by Public Interest or Inherently Private?
Kang Sung-hoon’s Controversies Find Their Roots in Lookism
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