A pedestrian walks by funeral wreaths sent by Bunnies, NewJeans' fanbase, to the Hybe’s headquarters in Seoul, in September. (Newsis)

K-pop fans have transitioned from enthusiastic supporters to influential stakeholders in the industry, shaping not only the success of idols but also the decisions of major entertainment companies.

Through social media, fans have amplified their collective power, helping their favorite artists promote albums and top global music charts by purchasing multiple copies and streaming songs on platforms like Spotify. This increasing influence has compelled entertainment agencies to adapt their strategies and respond to fan demands, marking a significant shift in the dynamics between fans, idols and their management companies.

Social media, in particular, has become a powerful tool for fans to express their opinions and directly challenge companies.

“In the era of traditional media, when a K-pop idol's persona was filtered through gatekeepers in the media industry, fans interacted with a more curated version of the idol's image,” said Stephanie Choi, a postdoctoral researcher at the State University of New York at Buffalo, on Tuesday.

“The popularity of audition shows, competitions within the industry, mutual communication via digital and social media, and idols' loss of their aura have contributed to the increased voice and power of fans in the K-pop industry,” she added.

The growing power of fandoms was evident in a recent dispute between Ador and Hanni, a member of its flagship girl group NewJeans, who alleged experiencing ostracism at the company.

A legal representative of Team Bunnies, a fan union for NewJeans, holds a bill of indictment before entering Yongsan Police Station, Seoul, to file a complaint against Ador CEO Kim Ju-young in October. (Newsis)

Bunnies, NewJeans’ fanbase, took significant steps to protect Hanni, actively confronting Ador and its parent company Hybe. Beyond traditional expressions of support, Bunnies engaged in collective legal action, filing petitions and reporting alleged workplace bullying to the Ministry of Employment and Labor.

These actions culminated in Ador CEO Kim Ju-young being summoned for a National Assembly audit in October, where both Kim and Hanni were questioned as witnesses. The case underscores how fandoms have evolved to hold agencies accountable at the highest levels.

Similarly, the case of Seunghan, a former member of SM Entertainment’s rookie group Riize, reflects the complexity of fandom influence. After personal controversies surfaced, Korean fans demanded his removal from the group. He was put on a monthslong hiatus before SM announced his return to group activities in October. In reaction, some fans sent funeral wreaths to the agency’s headquarters in Seoul with messages such as "Hong Seunghan Out," "Remove Hong Seunghan," and "Riize is Forever Six" to protest his return.

Bowing to domestic fan pressure, SM Entertainment ultimately expelled him from Riize. However, Seunghan is now preparing to debut as a solo artist -- a move supported by international fans but criticized by others as a lost opportunity for reconciliation.

Divided fandoms: Korean versus international

Transitioning to the broader implications of such incidents, Mathieu Berbiguier, a visiting assistant professor in Korean Studies at Carnegie Mellon University, provided perspective on how these dynamics highlight a divide between domestic and international fandoms.

“I think it is hard to make any predictions when it comes to companies. As we saw with Seunghan, we thought that Korean entertainment companies finally ‘gave up’ and listened to the international fans. But, in the end, they reverted their idea,” Berbiguier said.

“But maybe what can happen is that several situations like this might repeat and that international fans might get tired at some point of always having to protest to make their voice heard,” he added.

Berbiguier also noted the increasing polarization within the global K-pop fan community.

“Even by looking at the discourse on X these days, it's actually very polarized. International fans are very critical of Korean fans. While before they were actually very ‘admirative’ of them, that narrative has shifted,” he said.

This divide has created challenges for agencies as they navigate the differing priorities of their diverse fanbases.

Choi highlighted the challenges entertainment companies face in addressing these divides, saying, “As we enter the era of deglobalization, fans from different cultures and countries are becoming attached to differing political views that may contradict one another.”

“Companies may continue to cater to the most financially powerful fans -- primarily Korean fans and other Asian fans residing in Korea -- who have the greatest impact on first-week sales, which serve as key indicators of a group’s popularity and brand value,” she said.