This or That - 3rd gen boy groups

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Hi everyone, I am currently completing my PhD about popular music fandom and shame, and am planning to write one chapter about how fans are framed in media, particularly in film and television. I was wondering if anyone can think of any depictions or representations of K-pop fans in any movies or televisions shows you may have seen - this can be from a K-drama or Western production, doesn't matter! Or for that matter, if you can think of any examples of media representations of any fans though I would love to focus on music fans! I am looking currently at Swarm (2023) which was based on Beyoncé fans, Euphoria (2019) in episode three which followed the story of Kat, depicted by Barbie Ferreira, and (maybe) Misery (1990) which is based on a Stephen King novel. *if you have seen me in other subreddits, sorry for cross-posting, just want to try and get as many recommendations as possible!* submitted by /u/thhwwwreeeeee [link] [comments]

A lot of people truly don't understand that txt is always expanding their horizons and exploring different avenues of music. I'm very excited for what The Star Chapter: TOGETHER has in store for everyone submitted by /u/Nynasa [link] [comments]

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Hello, my name is Seung. I'm a 17-year-old trans guy looking to form a small K-pop dance cover group (5–7 members), tentatively called AURA5 or AURA7. This group will be LGBTQ+ inclusive, disability-friendly, and open to anyone 17+ near Sacramento/Rancho Cordova or within an hour’s drive. I'm shy, have ADHD, and live with cerebral palsy hemiplegia—so I understand the importance of a safe, supportive, and chill space. This is a low-pressure group where perfection isn’t required. You don’t need to be a strong dancer or super outgoing—just able to communicate and show up with respect and enthusiasm. What to expect: Focus on dance*, not singing Monthly in-person meetups (practice or filming), online practice through YouTube tutorials Face coverings optional in videos (masks provided) Dressing up for covers encouraged Basic social skills > dance skill No experience required—we’re here to grow together All races, genders, and sexualities are welcome. Extras: Learning Korean together*—I don’t know much, but we can help each other! Using basic terms like *hyung, oppa, etc., to get comfortable (not cringe, I promise) A shared YouTube channel for vlogs and covers If you have unsupportive or non-affirming parents, we’ll always use your chosen name/pronouns within the group and respect your privacy. To avoid trolls, please be ready to share a photo or short video if you're interested. You dont have to sing or dance in this clip. I plan to let this post sit for about 1 month to find the right people. No rush—just want this to feel right for all of us. If you’re curious or interested, feel free to DM me! submitted by /u/AppealGlad1155 [link] [comments]

With the recent announcement of Modhaus’ new group, IDNTT, and the continued innovative rollout of TripleS, I’ve found myself revisiting a lot of my frustration with SM Entertainment and their failure to truly commit to making the NCT concept work. It’s jarring to watch smaller companies successfully execute the very modular, fluid system that NCT originally pioneered—only for SM to abandon it due to poor management and short-sighted decisions. I can’t help but wonder what could have been if SM had just done things right from the start. When SM Entertainment introduced NCT (Neo Culture Technology) in 2016, it was one of the most ambitious concepts K-pop had ever seen. A group with no fixed size, no set lineup, and an ever-expanding universe of sub-units. Members could be added indefinitely and rotated between units based on concept, nationality, skill, or genre. It was a modular system, more like a network than a group, designed to grow with the industry and push creative boundaries. For fans, it felt like the future of K-pop. The group launched with a strong start. NCT 127 represented Seoul, blending hip-hop and urban pop. NCT Dream followed with a youthful, coming-of-age concept centered around a graduation system. WayV was created as the Chinese unit, and NCT U was a flexible, rotational group that changed its lineup based on the song or performance. It was a fascinating structure, offering something new every time while tying everything back into the larger NCT identity. On paper, this was genius. But in reality, SM never fully committed to the system it created. One of the biggest promises of NCT was that all members would have equal opportunity through rotation. Anyone could shine depending on the unit or project. But SM quickly began favoring a small group of members, mostly Taeyong, Mark, Haechan, Jaehyun, and Ten. These few idols appeared in nearly every major comeback, collaboration, and special project. Meanwhile, dozens of other members were left waiting. Some, like Kun or Hendery, went years with minimal promotion. Others, like Jungwoo or Yuta, were visibly underused despite strong fan support. NCT U, which was meant to be the most flexible and experimental unit, quietly turned into another way to highlight the same few members. The rotation system stopped rotating. At the same time, SM dismantled some of the most unique parts of the structure. NCT Dream was built around a graduation concept. As members aged out, they would leave the unit, making way for new, younger trainees. It was a powerful idea. It gave the group a narrative and emotional weight. Fans watched the members grow up, celebrated their “graduation,” and looked forward to meeting the next generation. But in 2020, the system was scrapped entirely. Mark was re-added to the lineup, and Dream became a fixed seven-member group. The concept that made them special was gone, replaced by a conventional boy band format. It was easier to market, but the creative core was lost. Perhaps the biggest turning point in the downfall of NCT’s original vision was the debut of SuperM in 2019. This supergroup was formed with members from SHINee, EXO, and NCT, including Taeyong, Mark, Ten, and Lucas. It was promoted as the “Avengers of K-pop,” aimed at the U.S. market. It worked. SuperM did well internationally, especially on Billboard. But its success came at a cost. Rather than using NCT’s system to highlight emerging talent or expand the group’s universe, SM extracted the most marketable members and placed them in a completely separate group with no connection to NCT’s concept. SuperM existed purely to generate fast profit. It was a turning point where it became clear that commercial gain had taken precedence over creative integrity. Even the small opportunities to build cohesion were abandoned. When WayV debuted with a Chinese version of “Regular,” fans saw potential for a recurring motif. NCT 127 had promoted the song in Korean and English, and now WayV had their own version. It could have been a symbolic thread tying the different units together, showcasing cultural variation within a shared musical identity. But that idea was never revisited. No follow-up. No narrative. No continuity. Just another missed opportunity in a system that no longer cared about connection. Then came one of the biggest betrayals in the NCT timeline. In 2020, SM introduced Shotaro and Sungchan as new members of NCT, with the promise that they would eventually join fixed units. They were promoted heavily through music show MC gigs, NCT U activities, and a show titled “Welcome to NCT Universe.” This show introduced trainees believed to be part of the upcoming Japanese unit, NCT Tokyo. Fans followed along, hoping to see the next stage of NCT’s expansion. But in 2023, SM quietly removed Shotaro and Sungchan from NCT entirely and placed them in a new group called RIIZE. No explanation. No farewell. The survival show was rendered meaningless. It was a gut punch to fans who had been emotionally invested in their journey. It proved that SM’s system was never built to last. It was disposable, and members could be moved around like pieces on a board without closure or consideration. And then there’s WinWin. Once an integral part of both NCT 127 and WayV, he slowly disappeared from promotions with no public acknowledgment. He hasn’t been in NCT projects for years, and there’s been no official word on whether he’s still part of the group. Occasionally, he appears in solo work in China, but from SM’s side, there’s only silence. WinWin’s disappearance is a painful reminder that even core members are not guaranteed protection or transparency. He was part of the foundation, and yet he was quietly erased from the narrative. So what is NCT today? It’s no longer a limitless group. 127 and Dream are fixed units. WayV is active but disconnected. NCT U is barely used. NCT Tokyo was rebranded into a rookie group called NCT WISH, with almost no ties to the original members. And the idea of expansion is officially over. SM has shifted its focus to solo releases, fan meetings, and tours for the most profitable members, while everyone else waits without updates. The rotation system is gone. The modularity is gone. The vision is gone. NCT had the potential to be a historic achievement in K-pop. It could have grown into an expansive universe with evolving narratives, equitable opportunities, and long-term emotional investment for fans. But instead, it became a brand name. The few members who sell well are pushed to the front, and the rest are left behind. SM took one of the boldest ideas in idol history and abandoned it before it could reach its peak. The downfall of NCT wasn’t inevitable. It happened because SM lost faith in its own creation. The concept wasn’t flawed. The execution was. They sold fans a dream of evolution, flexibility, and limitless growth. Then they chose what was easy, safe, and profitable. What was once the future of K-pop ended up as just another chapter in its past. Not because it failed, but because it was never truly given the chance to succeed. submitted by /u/Illustrious-Cut-1901 [link] [comments]

Hello, I'm practically new to K-pop, but these days I have a question: what would happen if a group debuted that only dedicated themselves more to the voice and not to the dancing, or in other words that they only sing but don't dance at all but their voice is very good so that the fans forget that they don't dance or don't know how to dance. I ask this because K-pop idols are trained from childhood to dance and sing, but remember that there was a Western group (One Direction) that did not know how to dance but did sing very well (even though their voices are common to people) they had a tremendous fan base, even bordering on being toxic, just like or almost like K-pop fans. I love idols who dance very well but I don't know why I prefer their voices more than their dances and I think that's why my favorite K-pop songs are practically their ballads, you could say that I prefer the voices in groups a little more than their dances (I find it very hypocritical since my first non-K-pop group, despite its good voices, danced very well although the dancing level of some of the members was not equal to the K-pop dancing level). And I would also like to clarify that I would not only accept a K-pop group that only sings well and that's it, if they are not going to dance at least a few movements to the rhythm of the music, if it is something more moving, movement of hands, arms, looks, winks, smiles, something that transmits feelings and emotions not just standing like a statue, if a group like that debuted (I doubt it) then I would prefer to follow another group. I don't like groups or singers who stay still on stage without transmitting anything while they sing. Here are some questions that I would like you to answer, I would greatly appreciate it. (1) How would a K-pop group that only focuses on vocals and not dancing be received by both Korean and global audiences? (2) What would be a good concept or musical genre for that group if they were to debut one? (Get creative, I'm a little curious hehehe) (3) Would you be able to track a group that is only good at vocals and not at dancing? If you got this far, thank you very much for reading this bible hehehe, I'm learning English since it's not my native language so I'm sorry if there are any mistakes and before finishing I would like to make it clear that I don't think it's a bad idea if a group dances but in a basic style since lately K-pop groups use their choreographies to be trending on TikTok, and if the choreography is easy but memorable it would be easy for mortals like me who can barely dance Fake Love by BTS hahaha. submitted by /u/Legitimate_Photo_867 [link] [comments]

Hey ATINY! I made a set of ATEEZ-inspired wallpapers based on the "In Your Fantasy" world tour aesthetic—dark red, dramatic, and fantasy-core. Each wallpaper is fan-designed and features high-res artwork styled around the vibe of this tour. This is a digital download bundle (4 total designs) available on my Etsy shop! I’d love to hear what you think—and if you have other ideas or requests for future sets (bias-specific? quote-themed?), I’m totally open! 💖 🔗 ATEEZ Inspired “In Your Fantasy” Lock Screens Not affiliated with ATEEZ or KQ, just made with lots of ATINY love 🫶 https://preview.redd.it/nz8cengtecaf1.png?width=1170&format=png&auto=webp&s=72c69ff1eaae4d32be09a2eed91416e7c4bb321d https://preview.redd.it/6kza3qgtecaf1.png?width=1170&format=png&auto=webp&s=1d5ae20685717d93ea36956202353e9ab9cebe38 submitted by /u/Haunting-Dress-527 [link] [comments]

I realised all the ITZY members had very different music styles for their solos. Like none sounded forgettable to me because they were so different and so were the performances. I think the girls have clear images and distinct styles (at least onstage) but they work so well together, it's so lovely. Yeji: fiery and powerful. Lia: elegant, soulful and almost ice-princess-like. Ryujin: laidback and handsome (by her own words, okay???). Chaeryeong: graceful and cute. Yuna: bubbly and a human barbie. Any other groups like this? submitted by /u/Gold_Meaning3688 [link] [comments]

From New Mexico to Toronto, they did a total of 15 concerts with 30-50k attendence in each date. This leg of their concert has 631k+ of concert goers. There are a lot to say on this tour. The good: - SKZ covers more places they have not covered before in their previous tours - their new band (the one they started using since this tour started) is awesome! I believe it is the same band they used for their festival runs the year before - the length of their concert is long, more to enjoy, lots of songs covered - the boys seemed to be enjoying themselves - the timing seems okay, some concerts has shorter period between one place to another but generally they have 4-7 days in-between for travel and rest - they light up Stare Empire building in burgundy - safety of SKZ - did not hear any stalking issues this time around like their previous tour, no death threat like Maniac tour, likely they probably have better security this time which is great - the stadiums gifts to the boys - one stadium even gifted baseball ring and you know Seungmin is in his element! Our resident baseball enthusiast LOVES the baseball venues and collected the home team jersey - one of the team uses SKZ song as opening due to Seungmin’s shoutout to their player and that is super cute The bad: - dynamic pricing - this should be GONE gone - safety hazards - crowd control at certain venues, the heat, the rain, the open spaces, the availability of water - closing early for the DC concert - so many posts about it so we know how crazy that concert is - there should be more concert covering more areas - but this is already covering more places than previous tours so it is an upward projection as it is - during the rainy part of their concert - we have seen some of the members falling on stage due to the slippery stage - during the heat wave part of their concert - we can see some of the boys looked quite tired - Rogers stadium in Toronto - not that bad per se - it is just that SKZ has become the ‘experiment’ considering they are the first to open the stadium which will be used by Coldplay, BP etc later What are your thoughts on this leg of the tour? We have heard of great things for their LATAM leg of the tour - great crowd, great everything. Not much is heard from the Australia/Asian counterpart. European leg will be the closing part of their tour which is coming soon. If you have attended any of their concert from Asia to the NA leg, share your thoughts. submitted by /u/Many-Ad-9007 [link] [comments]

“HYBE announced Tuesday in a press release that Braun is transitioning out of the role to pursue a new venture” submitted by /u/banjjagineun613 [link] [comments]

I have. Won't say much but something they did on a recent variety show was a big turnoff for me so I did. They were an enormous reason why I got into that group in the 1st place with me even casually following them before officially stanning them too + I hadnt biased someone so hard in so many years so it was such a big shame. But thankfully the other members I also love a lot so I have no problem stanning the whole group submitted by /u/TracerB16 [link] [comments]

Mine is ITZY's MAMA 2021 performance!!! Everytime I see Ryujin's fight scene I swear I get goosebumps... Crazy it's been nearly 4 years 😭😭😭 Yours? submitted by /u/Gold_Meaning3688 [link] [comments]

I was talking to a friend about this. I started stanning Oh My Girl this year, 10 years after they debuted. It’s kind of funny that if you live in Korea, I don’t think it makes any difference. You can still see them in Festivals and on TV, since their activities are entirely focused there. But if you don’t live in Korea, it’s kind of rough. It’s easy to miss out on their work, and there’s basically zero chance they’ll do a concert in my continent again, lol. submitted by /u/Striking-Meal-5257 [link] [comments]

https://preview.redd.it/4heynorpcbaf1.png?width=1276&format=png&auto=webp&s=f6a3d748cb98db788c9189801541addb1c5e9c53 https://preview.redd.it/caud4orpcbaf1.png?width=1278&format=png&auto=webp&s=8396ce5f2ccb2442270f38cebcbe4222eeddd1dd https://preview.redd.it/0e0hinrpcbaf1.png?width=1231&format=png&auto=webp&s=0546a302cd9ec3fb116209125e0a2a8e1e331005 (Sorry for the image quality, I did screenshot it from Instagram) As you can see these are pics of a Japanese CO-ED group made out of kids who were born between 2010 and 2014 and debuted last year in 2024. The group is kind of popular around kids their age, their name is PG and they are signed with the company called Avex (A few of you may know Avex already trought artists like XG, ONE OR EIGHT, Rikimaru, Ayumi Hamasaki, Koda Kumi, DA-iCE ... and many others, aswell as their work with Korean labels like YG and SM and so on...) and they have released 7 songs since their debut so far of which 2 of the MVs to the songs hit more than 6 million views at the moment. I wonder how this would look like if a Korean label had made a group like this, where they would make a CO-ED group with children from primary school and early middle school kids. I'm giving you their debut MV here so you see what kind of music they are doing https://www.youtube.com/watch?v=7ZHnFcNVzfI So what do you think? would this be possible or a big flop if this would've been KPop? I wonder what would be the biggest challenge if a label in Korea compared to Japan, that is as major as Avex is for Japan would drop a group this young. Let me know your thoughts. submitted by /u/Beautiful_Yellow_682 [link] [comments]

I'm a male casual listener (and sometimes a stanner), but I've never really enjoyed female groups like TWICE, BLACKPINK, etc. I tried to get into them, but it just felt strange for me—no offense at all. I actually respect both male and female stans of girl groups a lot. The only girl group I somewhat liked was Baemon, but even then, I never fully stanned them. That said, I really enjoyed solo work like Agust D and RM, and also 3RACHA in general. As for groups, I liked KickFlip, Stray Kids, and BTS(Especially debut era),EPIC HIGH BLOCK B. I know some guys like SKZ or sometimes BTS, but I’ve rarely seen any actual male stans around me. Just asking out of curiosity—are there K-pop boy groups with a large number of male stans? submitted by /u/ResourceHistorical78 [link] [comments]