When a few weeks ago we talked about the initial success of ‘The K-Pop Warriors’ we already pointed to how its original support was transcending, the film released directly in Netflix. However, the days have passed and we can talk about phenomenon with all the letters: ‘The K-Pop warriors’ is not only one of the successes of the year in Netflix, but one that has entered land that Netflix possibly did not weigh in its first calculations: cinema and music.
K-Pop Cantajuegos. The film, which tells the clash between the K-Pop Hent/X band (actually, incognito demon jackets) and a rival boyband, the Saja Boys (five infernal creatures with Machiavellians intentions), has had a fleet Cante, a vitaminate karaoke format that is living times of great acceptance thanks to premieres such as ‘Wicked!’ Well, although there are no official figures because Netflix does not give collection data, Comscore speaks of weekend figures around 17-18 million dollars in 1.7000 rooms.
The experiment has gone so well that Netflix has released this Sing-Along version this week on the platform, titled in Spain ‘Sing with the K-pop warriors’.
Return to cinemas. With this limited but very noticeable success, Netflix returns to the rooms in style. It has had to dodge the refusal of AMC Theatres, the main American room chain, which does not project films that can be seen in streamingbut the following chains in importance (Regal, Cinemark and Alamo Drafthouse) have projected it without rechistar. Although Netflix seemed to have resigned from the signs of his successes, leaving behind the times in which he tried to conquer the Hollywood awards and see them at the box office with the successes of the industry, this little caramel has not come badly for the platform or for the rooms themselves, which are not having a special summer.
Record success. But cinema and streaming are communicating vessels that share successes, trends and stars. More strange and worthy of celebration is the impact of ‘The K-Pop Warriors’ on the lists of record successes, although on the other hand it has a very clear explanation: the resultona and infectious soundtrack of the film is composed and played by musicians of Theblacklabel (like Ejae, which gives life to one of the protagonists, but has co-composed a good part of the soundtrack), seal of the experienced producer of the genus. Park.
Revolution on lists. As the producer Ian Eisendrath for Billboard commented, the secret has been in “bringing people from the pop of pop to write for the film, instead of people from the world of cinema who write in the style of the K-Pop.” Result: milestones such as the “false” Saja Boys and Old/X groups becoming the most listened to K-Pop bands in Spotify history in the United States, exceeding monsters like BTS or Blackpink. Or the landing of no less than four songs in the top 10 of the best -selling albums, first time in the story that happens with a soundtrack.
To get an idea of the size of success, the last time a movie did something comparable, with three songs in the top simultaneously, it was with ‘Saturday night fever’ in 1978.
The secret of his success. The film, despite the exclusive premiere on the platform, is produced by Sony Pictures Entertainment, one of the most interesting animation film factories of the moment: its style manages to distance itself from the mainstream Absolute pixar or Disney with equally affordable approaches for all audiences, but also attractive to adult spectators thanks to sophisticated aesthetics and good doses of irony, as has already been seen in franchises such as ‘Rain of meatballs’, ‘Hotel Transylvania’ or, above all, Spider-Hindo Spider-Man movies.
This formula has been applied with the same expertise in this ‘The K-Pop Warriors’ that is not only captivating a children’s audience, but also sweeps among a more youthful fandom, which generates fanfics or discusses their favorite films on social networks.
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In WorldOfSoftware | Many young people see and hear everything at 1.5x. They have not come there by chance: there was a lot of money at stake
